The Black Jazz recordings of Doug Carn are always a revelation – some of the most powerful, progressive work on the American underground of the early 70s – music that got Carn into way more record collections than you might expect! The sound here is a perfect summation of Doug's early genius – his own work on organ and keyboards, never overdone and mixed perfectly with a righteous array of acoustic sounds from Rene McLean on alto and tenor and Olu Dara on trumpet – both players who soar to the skies on waves of energy begun by Carn! Wife Jean Carn sings on a number of tracks – with this heavenly style that's mighty righteous – every bit as soulful as her later work at Philly International, but in a very different way. The set includes Doug's great reading of "Naima" – plus other wonderful cuts that include "Power & Glory", "Feel Free", "Jihad", "Fatherhood", and "God is One". CD

A historic pairing of blues talents – one that only flourished for a few short years, but created some wonderful music together! Leroy Carr brings lots of jazz inflections to his work on piano, but the overall sound is definitely blues – thanks strongly to the guitar lines of Scrapper Blackwell, who really helps give the tunes a nice rough edge, and hammers home the punch of the lyrics too! This 20 track set brings together rare 78rpm recordings done mostly for the Vocalion label, plus a few Bluebird tracks as well – and titles include "How Long How Long Blues", "Gettin All Wet", "Love Hides All Faults", "Naptown Blues", "Baby Don't You Love Me No More", "Lonesome Nights", "When The Sun Goes Down", "Going Back Home", "Big Four Blues", and "Papa Wants A Cookie". CD

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

The funkiest album ever recorded by Lyn Collins – a stone solid set that really lives up to the legacy of her funky 45s! Like those gems, this one has Collins working with James Brown on production and the JBs in the background – creating a razor-sharp groove that's probably the closest any female singer ever came in the 70s to matching The Godfather's groove! The album's got Lyn shifting between heavy funk numbers and mellower soul cuts – really pushing things to the max with an incredibly deep take on a few older favorites, plus some killer new numbers – all produced to funky perfection, with just the right sort of balance between the rough and the tight. Titles include her great version of "Think", a funky sample cut that never gets old – plus the cuts "Things Got To Get Better", "Women's Lib", "Never Gonna Give You Up", "Just Won't Do Right", "Wheels Of Life", and the funkiest version ever of "Fly Me To The Moon". CD

A punky funky no wave classic from James White – working here under the name of The Contortions, in a manner that's very similar to his Off White album! The tunes dip, turn, and kind of groove with a mad sort of art school energy – shifting easily between fast and frenetic playing, and some more "out" jazz styled riffing – that crazy saxophone work that always made James White sound so amazing! Most tracks have raw vocals, and titles include "Bedroom Athlete", "Twice Removed", "Roving Eye", "Anesthetic", "Contort Yourself", and "I Don't Want To Be Happy". The CD version includes 3 bonus tracks – live versions of "Throw Me Away", "Twice Removed" and "Jailhouse Rock". CD

Quite possibly the funkiest album ever recorded by saxophone legend Nathan Davis – a sweet little session with plenty of electric touches! The sound here differs greatly from Davis' 60s work on the European scene – his amazing albums for MPS and Polydor – and the record's awash in funky drum breaks, rolling basslines, keyboard solos, and plenty of searing work on soprano, tenor, alto, and flute by Nathan himself! There's a spare, stripped-down brilliance to this album that makes it one of our favorite indie jazz albums ever – a sense of groove that's apparent from the very first note, but also a righteous vision for arranging and composition that easily puts the set right up there with the best on the Strata East or Black Jazz labels! A few funky standouts on the record have been sampled heavily over the years, but the whole thing's great through and through – and titles include "Tragic Magic", "New Orleans", "African Boogie", "Stick Buddy", and "Bahia". CD

A soulful and ambitious session from saxophonist Nathan Davis – a funky little gem that's got a lot more to offer than just a simple tribute to Dr King! Nathan penned the set in a mode that's expanded from most of his other albums – using larger horns and electric instrumentation to give the record a groove that's almost like funky 70s soundtrack work, but which is also offset by some shorter, more introspective tracks that feature spoken narration about King and his legacy – read by Donald M Henderson, and done in an extremely poetic way. The session's as righteous as it is grooving – and showcases a side of Davis' talents we never even knew he had – a rich larger musical vision, handled perfectly throughout! Nathan plays a range of reed instruments on the album, and Frank Cunimondo plays some sweet electric piano on the record – and singer Brenda Joyce provides lyrics on a few numbers as well. Titles include "Funk A Dilly Molly", "MLK", "Atlanta Walk", "Mean Business", "Latin Happ'n", and "New Dues". CD

One of the few albums ever cut by Les DeMerle, one of the hippest drummers of his time – made legendary thanks to legions of samplers and beatheads in the 90s! This is certainly one of Les' best ever efforts – a tight batch of funky big band tracks, with lots of nice grooves, and a very hip lineup that includes Frank Foster, Joe Beck, Chris Woods, Arnie Lawrence, and Charles Sullivan – all coming together in some great tunes that have very unusual rhythms, and a great format that puts the drums in line with the hip playing in the reed section! The album includes Les' famous version of "A Day in the Life", which begins with a monster funky intro – plus the cuts "Fusion – Pro & Con", "Underground", "Deflections 1, 2, 3, & 4", and "Aquarius". CD

One of the most unique albums on the Strata East label – and that's saying a heck of a lot, given the creative energies flowing through that legendary jazz outlet! Descendants Of Mike & Phoebe is a righteous little project put together by Spike Lee's father, Bill Lee, and his brothers and sisters (Cliff Lee, Grace Lee Mims, and Consuela Lee Moorhead) – working here in a group named after their slave ancestors, who are paid tribute in a beautifully flowing batch of tunes! Lee's round, warm bass tones are firmly at the head of the group on most numbers – recorded at a similar level to his excellent work with Clifford Jordan on Strata East during the same time – and other instrumentation includes piano from Consuela, flugelhorn from Cliff, and percussion from Sonny Brown and Billy Higgins – all used in a wonderfully evocative style that's even better than some of Lee's later soundtrack work. A few numbers feature vocals from Grace – singing wordlessly and with a really heavenly sort of quality – and together, the whole group have a undeniable sense of power and majesty, yet also one that's touched by a really personal sense of poetry too. Titles include a great version of Lee's "Coltrane", which was more famously recorded with Clifford Jordan – plus "Chick Chick", "Attica", "Too Little, Too Late", "Boll Weevil", "Don't Be A Stranger", and "Well Done, Weldon". CD

A rare Japanese-only album from this 70s AOR legend – a set issued after Ned Doheny's big album for Columbia Records, but a set that feels as if it came just a few years after! During a generation where most folks were relying on streamlined production and instrumentation, Doheny still crafts things here with a really warm feel that works beautifully with his well-penned tunes, and his special approach to blue-eyed soul – easygoing Cali-style at its best, served up on a set of all-original material! Titles include "Love's A Heartache", "Back To The World", "Til Kingdom Come", "Follow Your Heart", "Whatcha Gonna Do For Me", "Heartbreak In The Making", and "Life After Romance". CD features five bonus tracks – including acoustic versions of "Get It Up For Love", "If You Should Fall", "Postcards From Hollywood", and "Whatcha Gonna Do For Me" – plus "Whatcha Gonna Do For Me (TV mix)". CD

A killer rare gem from the 70s – served up in this warm mellow take on funky soul, with plenty of jazzy licks in the mix too! The production is great – cool and compressed, so that the vocals are folded nicely onto the grooves – which are mostly in this midtempo mode that chugs along in a really unified pace throughout the record – almost making the whole thing feel like some funky suite of tracks that work together as a unit! The vibe is almost a bit in the Sugar Billy mode – indie funk that's nicely away from the mainstream, and with a groove that's more pre-disco overall – on a great set of tracks that include "You Must Be From Heaven", "Rainbow Men", "Freeway", "Love Rope", "Super Love", and "Save The Young Ones". CD

One of the most electric albums on the legendary Black Jazz label – a hip set of funky fusion tracks from bassist Cleveland Eaton, with a vibe that's similar to his album for the Gamble label, and his funky 45 work with The Kats! The record's a good extension of Eaton's roots in the Cadet studio scene working with Ramsey Lewis – and as proof of those roots, the record contains work by loads of key Chicago players – including Ari Brown on tenor, Odell Brown on keyboards and Hammond, Duke Payne on tenor and flute, and Morris Jennings on percussion! There's a wicked groove on most cuts, and the set was also recorded at the Chess studios – which furthers the Chicago vibe – as you'll hear on cuts that include "Chi-town Theme", "Keena", "Moe Let's Have A Party", "Kaiser 405", "All Your Lover, All Day, All Night", and "Hamburg 302". CD

Warmly mellow work from Steve Eaton – a singer with a nicely laidback take on blue-eyed soul, served up in some lean arrangements with a nice jazzy vibe – all a nice change from some of the bigger, more commercial work of the period! The indie approach of the set gives the whole thing the feel of a record from a half decade before – as Steve unabashedly puts himself forward vocally, while also handling both acoustic and electric guitar, keyboards, piano, and more – with support from some equally easygoing session musicians too! Titles include the wonderfully groovy "Without Out" and "All In Love Say I" – plus "Got Me Moanin", "Rakin Leaves In The Wind", "Hurricanes & Tornadoes", "You're Not A Hero", "Friendly Stealer", and "Old Smart Big & Kind". CD

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

Edbl's got some great friends here – a hip lineup that includes Myles Sanko, Sophie Faith, and others – all of whom bring in some great flavors to his wonderful production at the core! Edbl's nicely understated – clearly a lover of classic soul, funk, and jazz – but one who's also fused the whole thing together, then come up with this crispy, crackling vibe that's all his own! There's plenty of contemporary producers trying for the same thing, but Edbl really gets it right, and finds a way to really fly his own flag without ever tying himself too much to the past – as you'll hear on titles that include "Tell Me", "Too Much", "Temperature High", "Bossa", "Cold", and "Heist". CD features the bonus Japanese exclusive cut "Cafe 9". CD

Sublime spiritual jazz from Strata East – one of the label's rarest recordings, and one of its hippest too! The set has an incredibly righteous feel – a blend of keyboards, saxes, guitar, percussion, and vocals that steps off with a very deep feel – one that's heavy on the best post-Coltrane modes of expression in jazz, and which really takes advantage of the freedoms of the Strata setting to open up the sound in really beautiful ways! Beatrice Parker handles the vocals, with a very warm and spiritual style that's not unlike some of the early, righteous recordings by Dee Dee Bridgewater – and other group members include Khaliq Abdul Al Rouf on saxes, Bevin Turnbull on keyboards, Mashujaa Aliye Salamu on guitar, Leroy Seals on bass, and Fred Kwaku Crawley on a host of hip percussion instruments. There's a slight undercurrent of funk on a few tunes, but most tracks are focused more in a soaring, spiritual groove – with titles that include "Circles", "The Sojourner", "Peace (Salaam)", "Traces Of Trane", "Ecstasy", "Music Is Nothing But A Prayer", and "Malika". CD

Wonderfully groovy soul from The Entertainers – a group who's recording here strongly for the beach music scene in the Carolinas, but who have an appeal that's much more universal! The tunes are mostly in an upbeat, midtempo mode – with a gentle bounce and a nice sort of step in the rhythms – that sweet groove that shows up in the best beach music classics – and which The Entertainers really have a lock on for this set! But there's also a warmer, more seductive feel going on too – a groove that fits in nicely with some of the early 80s modern soul work of the indie underground – and which helps get this album past any overdone cliches you might expect from the Carolinas – especially on some of the numbers that have a nicely compressed, almost poppish approach to the vocals. There's a depth here that makes the record way more than just a bunch of simple steppers for the dancefloor – and titles include "Hot On A Thang", "Pour Your Little Heart Out", "It's Not What You Got", "I'm Leavin", "In This Moment", "I Won't Cry Anymore", "What Are We Gonna Do", "Livin For The Summer", "Kidnapper", and "I'm In Love With You". CD

A mighty great little record – a mixture of jazz and soul from the heavy talents of Hilton Felton – and a record that not only features some of his own great work on organ and keyboards, but some great contributions from other members of the DC scene of the 70s! In addition to help from The Blackbyrds in the core combo, and guest tenor from Andrew White, the set also features vocals from a young Angela Winbush on one track – singing backup on some others! But the core charm of the record comes from the grooves – the kind of upbeat, righteous sounds that we've always loved in Felton's keyboards – almost an extension of the Prestige Records jazz funk groove from the start of the 70s, with echoes of records by Funk Inc, Melvin Sparks, and Leon Spencer – but given a particularly hip east coast indie sort of spin! Titles include "Family & Friends", "Spreading Fever", "Never Can Say Goodbye", "Family Reunion", "Clay's Way", and "The Power Of Love". CD

A holy grail of funky music – and a rare gem from the DC scene of the 70s! Keyboardist Hilton Felton cut this wicked killer for his own tiny label – Hilton's Concept – and it's a very unique blend of jazz and funk modes, done with help from members of The Blackbyrds and Three Pieces! Felton plays Fender Rhodes, vibes, organ, and even some percussion on the record – grooving in this stretched-out, easygoing way that's unlike anyone else we can think of – often with fuller backings that might be at home on a soundtrack, but which have a much more open flow overall. Most tracks are nice and long, with plenty of sweet electric solo space – and titles include the classic "Bee Bop Boogie", a 9 minute groover with a monster break on the intro – plus "The Light Of Mankind", "Man For All Reasons", "Tell Her Love Has Felt The Need", "Love's Losers", and "Blues For a Weary Man". CD

A holy grail of funky music – and a rare gem from the DC scene of the 70s! Keyboardist Hilton Felton cut this wicked killer for his own tiny label – Hilton's Concept – and it's a very unique blend of jazz and funk modes, done with help from members of The Blackbyrds and Three Pieces! Felton plays Fender Rhodes, vibes, organ, and even some percussion on the record – grooving in this stretched-out, easygoing way that's unlike anyone else we can think of – often with fuller backings that might be at home on a soundtrack, but which have a much more open flow overall. Most tracks are nice and long, with plenty of sweet electric solo space – and titles include the classic "Bee Bop Boogie", a 9 minute groover with a monster break on the intro – plus "The Light Of Mankind", "Man For All Reasons", "Tell Her Love Has Felt The Need", "Love's Losers", and "Blues For a Weary Man". CD

A rare gem from keyboardist Hilton Felton – and one of the few albums issued on his own Hilton's Concept label! The set's got a super-sweet stripped-down feel – Hilton on organ and electric piano, backed by drums, bass, percussion, and some slight guitar – in a lineup that shifts slightly from track to track, but always keeps things lean and groovy! The album's got some killer funky numbers – like the chunky "Here Comes David", which has a nice rattling groove, and the extended mellow soul cut "Dream Come True", which blends keys and guitar with a bit of vocals, making for a nice tripped out soul style! Other tracks include "Your Analysis", "Music Shall Never Die", and "Maybe You'll Come Back To Me". CD

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

A bit later than some of Lowell Fulsom's funk work for Kent Records – but a set that's almost more vintage overall! The album's recorded for the short-lived Big Town imprint – a late 70s venue that took older R&B artists back to the sounds of a few decades before – never too rootsy, thanks to the style of production – but with less attempt to crossover to a contemporary audience than the artists might have used on another label. There is a fair bit of heavy guitar in the 70s – a kind of post-blues revival feel that comes on loud and clear, and which sounds especially great on the title track "Lovemaker", which almost has a funky "Tramp" groove at the bottom! Other cuts include "Bending Like A Willow Tree", "Get The Cash & Let The Credit Go", "My Mind Is Trying To Leave Me Too", "When Things Go Wrong", and "I Am Not Worried". CD features 2 bonus tracks – "Price For Love" and "All I Want Is For You To Love Me". CD

Very nice work from Lowell Fulsom – strongly in the mode of his Tramp album for Kent, with a mix of blues and 60s soul, coming together in a sock-hard style that's much better than a lot of Fulsom's other work for other labels! Arrangements are by Rene Hall and Maxwell Davis – the latter of whom does a surprisingly great job on giving up a sharper edge than we remember in his other work. About half the set's straight blues, but the half that's not is nice and funky – including the "Tramp" follow-up "I'm A Drifter", a nice cover of "Funky Broadway", and the cut "Let's Go Get Stoned". Other titles include "Feel So Bad", "I Cried", "The Letter", "Tomorrow", and "Mellow Together". CD features 2 bonus tracks too – "Blues Pain" and "I Wanna Spend Christmas With You". CD

One of THE all time classics of funky blues – a record built around Lowell's huge single "Tramp" – a massive tune that spawned a whole generation of answer tunes! "Tramp" kicks off the set with a stone break that's worth the price of the album – then Lowell slides into some tunes that have a bit more of a conventional bluesy approach, mixed with a few other nice cuts that get a bit funky too! A rough-edged classic that really stands out – and which has made Fulsom one of the better-collected bluesmen of the beathead crowd. In addition to "Tramp", other tracks include "Two Way Wishin", "Back Door Key", "Year Of 29", "Pico", "Goin' Home", and "Black Nights". Includes 2 bonus tracks – "Tramp (take 1)" and "Year Of 29 (alt take)". CD

Killer Kent Records work from the great Lowell Fulson – material from that time when he was effortlessly moving between blues, funk, and soul with cuts like this – really redefining the sound of the music, and almost setting himself up as a genre unto himself! There's plenty of Texas grit in the grooves, but things have a more refined Cali presentation – not slick or commercial, just tighter in all the right ways – as Lowell gets some great studio help from Maxwell Davis on piano and the young Arthur Adams on guitar! Titles include the seminal funk track "Tramp" – plus "Black Nights", "Too Many Drivers", "Let's Go Get Stoned", "Year Of 29", "I Wanna Spend Christmas With You (parts 1 & 2)", "No Hard Feeling", "Shattered Dreams", and "Talkin Woman". CD

Some of the funkiest work we've ever heard from Vernon Garrett – recorded in California, but with a nicely gritty southern soul sound! The tunes have some of the bluesy inflections of Vernon's more famous work – but they also come across with a groove that's tighter, especially on the drums, which snap out of the warmer backings with a kick that's a bit unusual for a record like this – and which keeps things lively throughout, even on some of the mellower numbers. Vernon's vocals are great – rich, and touched with a bit of Tyrone Davis-like styles – and female vocalist Margaret Love makes an appearance on many of the numbers on the record too. Titles include "Satisfied Woman Satisfied Man", "I Made My Own World", "Don't Do What I Do", "I Learned My Lesson", "Going To My Baby's Place", "Love Junkie", and "Something Went Wrong". 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

One of the coolest projects so far from Grey October Sounds – a set that has all the crispy beats and laidback vibe of previous records, but which also focuses on themes from anime as well! There's plenty of tunes from the world of Studio Ghibli, but they're nicely changed up with the instrumentation and production of Grey October Sounds – done as hip hop-styled instrumentals, but still with the gentler currents that echo the originals – including plenty of piano lines that float with a very dreamy vibe over the beats of the tracks! The record has all the charms you could hope for – and is one of the best Ghibli reworks we've heard, out of what is fast becoming a pretty big genre. CD

A really cool take on the sounds of Studio Ghibli – one that brings classic melodies from the famous animated features into play with the production talents of Grey October Sounds – who delivers the goods with all the low-fi elements promised by the title! The approach is instrumental hip hop, but with a very different approach than usual – as the sweetness and spirit of the originals really grace the whole record in a really wonderful way – so that there's a sense of warmth and redemption that you'd not normally find in a record of beats, keyboards, and samples! Includes tunes from Kiki's Delivery Service, Castle In The Sky, and other Ghibli films – 10 tracks in all. CD

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

An obscure release by Chico Hamilton – but with some really great moments that more than rival his famous sides for Pacific Jazz in the 50s! The set was issued on the obscure Crown label, and is a bit short on notes – but side one features work by Chico's early trio – a cool group with either Howard Roberts or Jim Hall on guitar, and George Duvivier on bass – really sounding open and airy, yet swinging too – on titles that include "Nutty", "Skinned Strings", "Street Of Drums", and "Blues On The Rocks" – played by a group that seems to feature bass, drums, and guitar. Even better, though, is side two, which features the more complicated "Suite For Horn" – a long piece built around the flute work of Paul Horn – presented here with a shorter track called "Montuna", which is mostly just heavy percussion, bass, and very noisy cello from Fred Katz! CD

Ray Harris is a heck of a great keyboardist – one with plenty of influences from the 60s and 70s, and a groove that more than lives up to the title of the set! The style's a bit less conventionally "fusion" than you might expect – and instead, there's almost a club jazz feel at times – modes from scenes like those at Irma or Ricky Tick, served up with plenty of warm touches, and a blend of real jazz instrumentation and solos with just a bit of occasionally programmed beats. Harris' plays piano, organ, clavinet, and Rhodes – often more than one on the same tune, for an approach that has that great blend of acoustic and electric elements you might find on some of the more soulful jazz sessions of the 70s. And there's also a bit of vocals on the record – but always used somewhat sparingly, in a way that takes a definite back stage to the long, grooving keyboard lines on the set! Titles include "The Sioux", "Scaramunga", "My Last Chance", "Interpretation", "There's Nothing Like You", "Origin", "Tokyo Blue", "One Of A Kind", and a great cover of "Riders On The Storm". CD

Great later work from Wendell Harrison – a set that has the Tribe Records giant of the 70s taking the sound of the Detroit underground into a whole new vibe! The record takes the spiritual post-Coltrane jazz of Harrison's earlier days, and infuses it with some warmer, electric modes – a way of pushing spiritual jazz currents into other territory, a bit like Gary Bartz did with some of his work in the late 70s! Tracks are shorter and slightly less political than before – but the overall vibe is equally soulful in an 80s indie jazz style – and proof that Harrison was still keeping strong after the early days of the Tribe movement. There's some nice dark edges to the record that really keep things interesting – maybe imagine Larry Mizell producing some of the more off-beat albums on Strata East – and there's a bit of vocals on the set, which also features work from Phil Ranelin on trombone. Tracks include "Where Am I", "Sea Minor Blues", "Take Time Out", and "Dreams Of A Love Supreme". CD

One of the most classic albums on the Tribe Records label from Detroit – music that was too heavy for most of the world when it was issued in the 70s – but which has gone onto achieve legendary status over the years! Reedman Wendell Harrison leads the group in a set of soaring, spacious, righteous tunes – with great help from Marcus Belgrave on trumpet, and assorted other instruments, which he and Harrison play in the best AACM tradition. Phil Ranelin's also in the group on trombone – and other players include Charles Eubanks on keyboards, Ike Daney on drums, and Will Austin on bass – and the album also features some spoken passages by the Black Messengers, Oba and Vajava. The whole thing's fantastic – that strong collaborative spirit that graced the best part of the American jazz underground of the time – and titles include "Mary Had An Abortion", "Vol II Angry Young Man (parts 1 & 2)", "Consciousness", and "Rebirth". CD

A weird and wonderful album from Tribe Records giant Wendell Harrison – an obscure electric set from the start of the 80s! There's still a strongly spiritual feel on the record, but Wendell also adds some Fender Rhodes and vocals to his work on tenor and flute – bringing in the same sort of spacey soul vibe you'd find on work from the time by Oneness Of Juju! The overall sound is still quite soulful – a great extension of the early Tribe spirit from Detroit – and some cuts feature a bit more acoustic piano and sweet earthy percussion. Other cuts have more of a soulful bounce – thanks to vocals from Miche Braden and Kathy Simmons – and titles include "The Wok", "Ginseng Love", "Love Juice", "A Green Meadow" and "Peace of Mind". CD

Later work from reedman Wendell Harrison and the Tribe Records scene – a set that's got a slightly tighter feel than some of his earlier work, but still a relatively soulful vibe overall! Harrison leads the group on tenor, flute, and clarinet – but there's definitely a collective vibe to the music – which also features Harold McKinney on piano, Phil Ranelin on trombone, and Ralph Jones on soprano sax – part of a shifting lineup of artists who change from track to track – including Leon Thomas and Pamela Wise, who each sing a bit on the record. Thomas appears on the great tracks "Where Am I" and "Love Dream", both of which have a great mellow soul jazz vibe – and other cuts get a bit more out, and have more of the soaring spiritualism that got the Tribe scene going in the early 70s. Other titles include "Tons & Tons Of BS", "Winter", and "He's The One We All Knew". CD

The rare first version of Message From The Tribe – still done with all the Detroit underground qualities of the better-known versions – but with a completely different song list overall! As with the more-circulated versions, the record is the brainchild of saxophonist Wendell Harrison and trombonist Phil Ranelin – and the pair work together with other key players from the spiritual avant scene in their city at the start of the 70s – Marcus Belgrave and Charles Moore on trumpets, Will Austin on bass, Ike Daney on drums, and Charles Eubanks on some mighty nice Fender Rhodes! All group members handle other instrumentation too – usually a bit of percussion– and Jaemel Lee comes in with some vocals and poetry as well. The album features two side-long suites – the 20 minute "Evening With The Devil" on side one, with passages that include "Mary Had An Abortion", "Angry Young Men", and "Where Am I" – and the 21 minute "What Now" on side two – with passages that include "What We Need", "Angela's Dilemma", and "How Do We End All Of This Madness". CD

Genius work from the Detroit underground of the 70s – one of the greatest records ever on the now-famous Tribe Records label, and a masterpiece of soul, jazz, and righteous spirit! The session's headed by tenor player Wendell Harrison – and it's got an all-star Motor City lineup that includes Marcus Belgrave on trumpet, Phil Ranelin on trombone, Jeamel Lee on vocals, Charles Eubanks on electric piano, and Charles Moore on flugelhorn. The tracks have a spacious spiritual approach that recalls some of the later Archie Shepp on Impulse – a blend of soul jazz with slight touches of electric instrumentation, some vocals, and a very progressive spirit overall – stepping proud in the new freedoms of the 70s, yet still swinging and very groovy. Titles include "Angela's Dilemma", "What We Need", "How Do We End All Of This Madness", "Merciful", and "Beneficent". This second version of the album features mixes of the tracks done in 1973. CD

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

The classic first LP by this stellar Chicago harmony group – and a monster! Heaven & Earth had a wonderful falsetto harmony sound that reminds us a lot of east coast winners like Blue Magic or The Stylistics – and like some of the best east coast groups, this group's vocals work equally well on slow ballads or faster uptempo numbers, both of which are handled extremely well on the record by producer Clarence Johnson. The bulk of the arrangements on the record were done by Tom Tom 84 – one of Chicago's true soul geniuses, and in perfect form on this record. The whole thing's amazingly well put together for an indie soul group album – and is a sure indication of the group's later fame on Mercury. Titles include "Nature's Miracle", "The Message", "I'll Always Love You", "Let Me Back In", and "I Can't Seem To Forget You". CD

The classic first LP by this stellar Chicago harmony group – and a monster! Heaven & Earth had a wonderful falsetto harmony sound that reminds us a lot of east coast winners like Blue Magic or The Stylistics – and like some of the best east coast groups, this group's vocals work equally well on slow ballads or faster uptempo numbers, both of which are handled extremely well on the record by producer Clarence Johnson. The bulk of the arrangements on the record were done by Tom Tom 84 – one of Chicago's true soul geniuses, and in perfect form on this record. The whole thing's amazingly well put together for an indie soul group album – and is a sure indication of the group's later fame on Mercury. Titles include "Nature's Miracle", "The Message", "I'll Always Love You", "Let Me Back In", and "I Can't Seem To Forget You". CD features the bonus track "Promises". CD

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

About as classic as you can get for the legendary John Lee Hooker – a set of recordings from his early postwar years that perfectly define the special touch and electric genius of his music! The sound here is often as spare as rural acoustic blues from years back – but Hooker's using an electric instrument with a nice current of fuzz, which almost acts like a louder, fuller chorus behind his vocals – often hinting at feedback possibilities, which creates this hypnotic quality to the music – whether or not John's grooving high, or stepping low! And the vocals are something equally wonderful, too – sung and hum at the same time, in that classic Hooker way – again a huge influence on so many others to come. Japanese CD features 24 tracks in all! CD

Lightnin Hopkins at his best – a set that rings out with all his bold electric tones on the guitar, yet which also has the moody, stripped-down feel of a blues recording from a few decades before! The electricity really does a lot to deepen the tone – both in the echo from Hopkins' guitar, and in the way his vocals stretch out in the same space! There's no other backing at all – which makes for a moody feel, and a quality that lives up to the "folk" in the title – yet Lightnin also gives the whole thing a crackling sort of energy that's also very much in the best postwar blues mode. Titles include "Sick Feelin Blues", "Blues For My Cookie", "My Baby's Gone", "Lightnin's Special", "Nothin But The Blues", and "Don't Think Cause You're Pretty". CD features loads of bonus tracks – and has a total of 26 titles in all, which includes material from other Herald Records singles! CD

Stellar work by Jimmy Hughes – one of those southern soul talents whose name you've heard, but can't always find on record! Jimmy's best known for his classic Muscle Shoals tune "Steal Away" – and that great number, plus many other similar ones, are presented on this obscure Vee Jay release – issued at a time when both that label and Chess were licensing a number of titles from Rick Hall's Fame studios. The sound is great – a key link in the southern scene of the 60s, and one that's often lost because it wasn't recorded for a bigger label, like Atlantic. Titles include "Steal Away", "Try Me", "I Want Justice", "Shot Of Rhythm & Blues", "Neighbor Neighbor", "I'm Getting Better", and "I'm Gonna Rise Again". CD

A set that's as playful as the image on its cover – and one that's pretty darn soulful too – a really great criss-crossing of modes from a trio of three very different personalities who manage to come together with a vibe that's very much their own! The combination of three almost makes us think of Deee Lite – but these guys are more contemporary soul than club, yet share a similar sense of interaction that really keeps things interesting throughout, and which serves as a great way to move past some of the posturing you might get from a solo artist in the lead. Titles include "Upqua", "Omersaar", "The Martyr", "Other People's Pictures", "The Juice", "First Impressions", and "Something To Do". CD

Incognito never lets us down – and records like this keep us listening strongly year after year! The set's got all the core brilliance of Incognito at their best – a really classic approach to jazzy soul, served up with top shelf instrumentation by the group – and sent home strongly by a range of singers who include Vanessa Haynes, Tony Momrelle, Chiara Hunter, Imani, Deborah Bond, and the great Carleen Anderson! Nobody can do it as well as these guys – tight, but never uptight – smooth, but never sleepy – really right on the money from the production on down to the bottom – the kind of careful, classy soul that almost makes Incognito a genre unto themselves. Titles include "Wind Sorceress", "Rapture", "Hands Up If You Wanna Be Loved", "Hats", "I Couldn't Love You More", "Something Bout July", and "Silver Shadow". Japanese CD features the bonus track "Part Of The Plan". CD

A very cool Japanese-only collection of cuts from Incognito – the long-running and legendary UK soul band who've given us fantastic music for many many years! This set brings together some rare mixes, some of which appear on CD for the first time ever – and also includes some great Incognito side projects too – all of which makes for a set that's way different than a simple "best of" or anything of that nature! Titles include "Lowdown (Ski Oakenfull rmx)", "The Less You Know (Bluey's ext mix)", "Ain't It Time (Club Surreal mix)", "1975 (Ski Oakenfull rmx)", "Put A Little Lovin In Your Heart (Bluey rmx)", "Life Ain't Nothing But A Good Thing (Bluey's jazz funk raw mix)", and related cuts "Take A Chance On Me (single edit)" by Bluey, "Smile" by Ed Motta, and "All The Way (Bluey & Ski Oakenfull Incognito rmx)" by Julee Karan with Wouter Hamel. CD

A killer funky group from early 70s Japan – a slightly large ensemble, but one with some really heavy drums at the bottom – plus some great use of organ and electric guitar! There's a tight brace of horns at the top – flute, tenor, trumpets, and trombone – but the rhythms are what really drive the record, and give the whole thing a sometimes-funky, always-groovy quality that never lets up! The mode is almost soundtrack funk at times – jazz, but filled with some rich colors and expansive tones too – and there's a sophistication here that really rewards repeated listenings, but never gets in the way of the groovier moments too. Titles include "Theme Mustache", "Tak's Tune", "Joint", "Monster", "Lullaby For Yuh", and "Scotland Scene". CD

Weldon Irvine meets Strata East – and the result is one of the keyboardist's funkiest albums ever! The set's more jazz-based than the soul/funk outings Weldon cut for RCA and his own label – with great focus on Weldon's lines on clavinet and Fender Rhodes – supported by sweet guitar lines and lots of heavy percussion – often a mix of drums and congas, which really sounds great. Pianist Virginia Joe Jones joins the group on a few cuts – but the main star here is definitely Weldon, who sparkles wonderfully on some spiritual keyboard solos. Titles include "Pleasure Pain & Me", "Marjorie Moon", "Down Home", "Fat Mouth", "Turkish Bath", and "Gemini Mood". CD

Landmark early work from the legendary Weldon Irvine – recorded way back when he was first coming to fame with Nina Simone, but done as an obscure indie effort for his tiny Nodlew label! The set's a wicked batch of keyboard-heavy funk – at a level that's similar to some of the best titles on Black Jazz or Strata East at the time, but also filled with an even richer array of colors and musical ideas. Weldon's work on electric piano is worth the price of admission alone – often spare, spacious, and perfectly placed – especially on the funky classics "Homey", "Mr Clean", and "Sister Sanctified" – a tune later cut by Stanley Turrentine, but heard here in Weldon's original version! Other cuts include "Gloria", "Juggah Buggah", "Blues Wel-Don", and "Liberated Brother". CD

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

Rare work from Weldon Irvine – a selection of tracks recorded as private studio outings, reissued briefly by Luv N Haight in the early 90s, and then only on vinyl! The style here is much more jazz-based than some of Irvine's soul recordings – a mode that's often all instrumental, and which features Weldon playing more acoustic piano than on his 70s fusion classics – but usually mixed in with sweet electric elements, too – which creates this wonderfully righteous balance in the music! The whole thing's very soulful, with plenty of undercurrents of the RCA years – and guest players include Steve Grossman on tenor, Marcus Miller on bass, Tom Browne on trumpet, and Bobby Broom on guitar – the latter 3 of which all worked with Weldon at GRP, making us guess that some of these 80s sides were intended for release on that label. Titles include "Kundabuffer", "Music Is The Key", "Mr PC", "We Can Try Again", and "Blues For Spike". CD

Rare work from Weldon Irvine – a selection of tracks recorded as private studio outings, reissued briefly by Luv N Haight in the early 90s, and then only on vinyl! The style here is much more jazz-based than some of Irvine's soul recordings – a mode that's often all instrumental, and which features Weldon playing more acoustic piano than on his 70s fusion classics – but usually mixed in with sweet electric elements, too – which creates this wonderfully righteous balance in the music! The whole thing's very soulful, with plenty of undercurrents of the RCA years – and guest players include Steve Grossman on tenor, Marcus Miller on bass, Tom Browne on trumpet, and Bobby Broom on guitar – the latter 3 of which all worked with Weldon at GRP, making us guess that some of these 80s sides were intended for release on that label. Titles include "Kundabuffer", "Music Is The Key", "Mr PC", "We Can Try Again", and "Blues For Spike". CD

A huge musical treasure – a full unreleased album by Weldon Irvine, plus a bonus material as well! The music is from the stage play Young Gifted & Broke – a short-lived production by Weldon, and one that's done with some of the same hip modes he was bringing to his own music of the 70s – as well as to other artists as well, especially Nina Simone! The style's more jazz than funk, but is still mighty nice – as the instrumentation features loads of electric piano lines from Weldon, and a sparklingly soulful style that's way hipper than most of what you'd find on the stage at the time. Most tunes have lyrics, but are still heavy on Fender Rhodes lines from Weldon – and titles include "Karate Dancer", "Pity for The Man", "Black Lightning's Song", "Musical Interlude", "Comin Home", "We Got A Deal", "No Now Never None", and "Ghetto Lament". CD

A wonderful collection of later work from this legendary Japanese pianist – a set that's named after his famous Watarase album from years back, but which includes some unusual live recordings and material that we haven't seen elsewhere! Some of the tracks here really break the standard piano trio format of some of Fumio Itabashi's other albums, but still glow in that boldly spiritual, soulful style he brought to his work from the 70s onwards – and the set features one track that's a duet with drummer Takeo Moriyama, another that's a duet with alto player Kazutoki Umezo, a quintet title with tenorist Tetsuro Kawashima and trumpeter Shinpei Ruike, two solo tracks, and one trio number that features Fumio on melodica – an instrument we're not sure we've ever heard him perform on before! Most tracks are titled "Watarase", in variations of his famous tune – but the performances are very different, and mostly include live material from the 2010s, plus one more track from 2001, and a never-released demo from 1981 too. CD

One of the first-ever recordings of the Chicago AACM scene – and an early set that has Joseph Jarman recording as a leader before founding the groundbreaking Art Ensemble Of Chicago. The group features some seminal Chicago players who are only now getting the credit they deserve in the history of avant garde jazz – trumpeter Billy Brimfield and tenorist Fred Anderson – plus work by the obscure Christopher Gaddy on piano and marimba, as well as the great percussionists Thurman Barker and Steve McCall. Titles include "Little Fox Run", "Adam's Rib", and "Song For" – and the CD also includes a bonus alternate of "Little Fox Run". CD

20 rare recordings from one of the all-time greats of early blues recording – the legendary Blind Lemon Jefferson, presented here on a set of seminal recordings done for the Paramount label in the late 20s! All tracks were recorded in Chicago, but hardly have the famous sound of that city's blues in the postwar years – as Jefferson plays acoustic guitar in a very rural sort of way, and matches his wonderful inflections on the strings with fantastic vocals – all at a level that still comes across strongly with a sense of unique expression and soul, despite the limitations of recording modes from these early years. Titles include "Rabbit Foot blues", "Match Box Blues", "Hot Dogs", "Deceitful Brownskin Blues", "Blind Lemon's Penitentiary Blues", "Rising Water Blues", "That Black Snake Moan", "See That My Grave Is Kept Clean", and "Broke & Hungry". CD

A modern soul classic – and the first album recorded by 70s mellow soul maestro Al Johnson, a great artist whose lent his talents to countless others over the years! The sound is incredibly tight and plenty darn soulful – very much in the spirit of mid 70s classics by Leroy Hutson, Ronnie McNeir, and Leon Ware – with a massively personal approach that hits hard on both the groovers and the mellower cuts. There's a style here that's nicely rougher than that on Al's better-known album for Columbia – but one that shows that he can still cook up impeccable tunes without a major label budget for production! Titles include the great groover "I've Got My Second Wind", plus "Let's Go Home Together", "Peaceful", "Come Check Out This Love", and "Let Me Love You". CD

A monster set of work by one of the funkiest guitar players ever! Ivan Boogaloo Joe Jones recorded a number of sides for Prestige Records during the early 70s – but this rare gem came out after all those, in 1975, on the tiny Joka label, and never really got into proper circulation at the time – making it one of THE indie jazz funk classics of the 70s! The album's actually one of Boogaloo's best – and has a rougher edge than his Prestige albums – heard to great effect on the two standout funky cuts, "Sweetback" and "Confusion" – both of which are stunners that feature Jones really ripping away on the guitar! The whole set's nice, though – and other tracks include "You've Got It Bad Girl", "Trouble In Mind", and "Jamaica Farewell". CD

An essential bit of 70s soul jazz – a real standout in both the catalogs of tenorist Clifford Jordan, and the Stata East label! This is one of those few records where every element is perfect, and all players rise together to a new level of expression – and we'd easily rank this one right up there with John Coltrane's Love Supreme or Pharoah Sanders' Kharma for sheer magnitude of sound and message! Clifford Jordan is at the height of his tenor powers – cutting sharp lines, stretching out his notes, and hitting all these dark edges that had never appeared in his work – and the rest of the group is great too – with Stanley Cowell on piano, Bill Lee on bass, and Billy Higgins on drums. Higgins is amazing, and gives the set a sort of lyrical freeplay that makes Jordan's hard solos come alive in a magical way – and Cedar Walton also plays piano on a few numbers, pushing things forward with the sense of warmth and imagination that always made him a treat in the 70s! Every cut's a winner, and the set list includes "John Coltrane", "Alias Buster Henry", "Glass Bead Games", "Biskit", and "Bridgework". Great stuff, and a huge amount of music! CD

One of the most ambitious albums ever recorded from Clifford Jordan – a totally righteous little effort that was the first installment in the legendary Dolphy Series on the Strata East label! The set has Jordan working with a larger group than usual – an all-star array of players that includes Kenny Dorham and Don Cherry on trumpets, Julian Priester on trombone, Wynton Kelly on piano, Wilbur Ware and Richard Davis on bass, and drums from Roy Haynes, Ed Blackwell, and Albert Heath. The titles are originals by Jordan – long numbers that flow out slowly as they build up new musical ideas – all in a style that's somewhat laidback and spacious, very organic, and a bit like some of the best early 70s Impulse material by Archie Shepp. Album features 4 long tracks – "872", "Vienna", "Doug's Prelude", and "Ouagoudougou". CD

A great document of the early genius of BB King – a set that brings together material recorded just over the space of a decade for the RPM/Kent label in LA – the company who gave BB a wonderful showcase in the years before he hopped over to a larger label and bigger fame! The material here is fantastic – and often has that light touch of jazz that would come when BB was working with like-minded players – mixing his own raw touches on guitar with sweet piano and tenor lines, the topping the whole thing with that vocal approach that really helped blues evolve more than a few notches, thanks to material like this! The set features 16 tracks in all – and titles include "Woke Up This Morning", "My Own Fault", "Whole Lotta Love", "You Upset Me Baby", "The Jungle", "Your Fool", "You're Breaking My Heart", "3 O'Clock Blues", "My Sometime Baby", and "Sweet Little Angel". CD

Includes 6 non-album bonus tracks. CD

One of the best female soul groups we've heard in years – and one of the few who've really found a way to come up with a fresh new sound of their own! King blend together three singers with this style that's really spacious, and almost cosmic – not too far-out to ever lose the groove, but with a slightly trippy quality that's reflected in the way the group are pictured on the cover. The mode's not traditional R&B harmony, nor typical girl group soul – and instead it's got this righteous sense of flow that bubbles, dips, and soars throughout the entire album – more than enough space for a lead singer to take off when needed, then step back into the wider progression of sound. A real treasure – with titles that include "The Right One", "Red Eye", "Carry On", "Mister Chameleon", "Oh Please", "Native Land", and extended mixes of "Supernatural", "Hey", and "The Story". CD

A righteous soul classic by Mike James Kirkland – one that has every element to make a rare soul gem worth owning! There's great production (with lots of nice funky intros), great original songs (with a great, righteous vibe), and Mr. Kirkland's fantastic soulful voice. The album is divided into two halves – a "peace" side, which is more political – and a "love" side, which has some mellow soulful stuff. Totally great, and we've only seen the original a few times – so don't bother waiting for it, and just scoop up this reissue. Titles include "What Have We Done", "Where's The Soul Of Man?", "Hang On In There", "Baby I Need Your Loving", "It's Alright With Me" and more. The CD's got 3 bonus cuts, too – including Mike's funky classic "The Prophet" – plus "Together" and "Love Is". CD

Magnificent work from European jazz vocalist Karin Krog – a landmark album that shows why she sings like no other singer! On this 1974 session, Karin moves far beyond the standard jazz of her roots – into territory that's spacey, cosmic, and filled with the best influences bubbling underground in the Euro scene of the 70s. The backing group features Steve Kuhn on keyboards, Steve Swallow on bass, and Jon Christensen on drums – all working out these beautiful modal patterns that unlock Karin's cool and icy vocals. The tunes are all pretty incredible too – vocal versions of originals by Kuhn, like "Meaning Of Love", "Sometime To Go", and "Raindrops Raindrops"; a very cool version of Joni Mitchell's "All I Want", a rare Jon Hendricks' lyrical version of JJ Johnson's "Lament", and a sweet and breezy take on the Michel Colombier tune "We Could Be Flying"! CD

A really great bit of blue-eyed soul from Laneous – a singer who doesn't try to ape classic modes like some of his contemporaries, but who instead brings together a groove that's certainly got an influence from hip hop as much as it does classic soul – yet which is delivered on some mighty nice live instrumentation throughout! There's a fair bit of vibes on the set – often coming down hard with the rhythms, and ringing out in a mighty nice way – and tunes move between slow funk and breezier, jazzier numbers – both of which Laneous delivers in a really great style! Titles include "I Wanna Be Your Girl", "Not Quite Right", "Nightingales", "Hold My Hand", "Trouble In Paradise", and "Modern Romance". CD

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