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

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

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

Great work from the Kenny Drew trio of the 80s – a lineup that always manages to bring out some deep sounds in their music – in this case, just the right undercurrent of sadness and loss to fit the title well! Drew's piano is beautiful at this point in his career – as fluid as before, but even more filled with feeling and depth – matched perfectly by the sensitive bass work of Niels Henning Orsted Pedersen, and the drums of Ed Thigpen – who, like Drew, is still constantly evolving in his second home overseas. The tunes are all well-chosen to fit the theme of the title – and tracks include "The Last Romantic", "Django", "Willow Weep For Me", "Elegy", "Tune Down", and "Finale". CD

A really unique little record from vocalist Frank D'Rone – one that's got a very different approach than some of his more pop-oriented sets! The album's recorded live at San Francisco's legendary Hungry I – often a haven to beats and folkies, and a venue that seems to have brought out a whole new level of Frank's talents! D'Rone's singing here with much lighter accompaniment than usual – just a small rhythm section – but the key part of the set is that Frank's also accompanying himself on guitar, strumming along with his vocals in a way that's sometimes gentle, sometimes jazzy – and which reminds us a lot of similarly swinging sides by vocalist Eddie Hazell (not the P-Funk guitarist!) Given the early 60s date of the set, there's a nice flexibility here with rhythms – and Frank opens up with slight bossa, swinging, and syncopated sounds on a few numbers – and sounds even better on the gentler tracks, which really mostly feature just voice and guitar. Titles include "Tea For Two", "Nancy", "But Not For Me", "Teach Me Tonight", "I Am In Love", "Out Of This World", and "I'll Remember April". CD

A late triumph for Dylan, and solidly delivering on the promise of his return to excellence on Time Out Of Mind a few years earlier – setting foot into the new millennium by hitting even higher point in a pretty incredible comeback period! Dylan produces himself here, credited as Jack Frost, and he and his road tested band bring the varied rootsy vibe of his latter day sound to the forefront after the moodier, murkier vibe of the previous record. A genuine classic, with songs Dylan kept in his live setlist for many years to come – clearly the man himself is proud of this one, and rightfully so. Titles include "Tweedle Dee & Teedle Dum", "Mississippi", "Summer Days", "High Water (For Charley Patton)", "Honest With Me", "Po'Boy", "Cry A While", "Sugar Baby" and more. CD

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Spiritual, soulful, and oh, so beautiful! This record captures Earth Wind & Fire at a perfect transition moment – when they've still got some of their avant jazz roots, but are leaning towards the smooth soulful funk sound that put them on the charts a few years later. The whole thing's a wonderful mix of spiritualism and funky jazz – and it includes their massive cover of "Mighty Mighty", plus a lot of tracks with cool instrumentation, like "Kalimba Story", "Drum Song", and "Caribou". Great jazzy groovers, all of them! Contains 4 previously unissued tracks – "Ain't No Harm To Moan", "Step's Tune", "Dreams", and "Fair But So Uncool (Walkin In N'Awlins mix)". CD

Amazing! Earth Wind & Fire's ultimate moment of the 70s – and a perfect blending of all their influences that stands as a lasting tribute to their super-huge effect on soul music! The record features all aspects of the band coming into perfect cohesion – bassy funk, mellow soul, and afrocentric jazz – all expertly handled by the great Charles Stepney, who still has the same rich talent for blending styles that he had while working at Chess/Cadet during the glory days of the late 60s. Some of these songs have been played to death (and covered so much) over the years that it's often easy to forget what a crowning moment this was for former underground soul heroes Earth Wind & Fire – but we'll never cease to be amazed at the power of their mid 70s work, and this album's the best of the best. Titles include "Shining Star", "That's The Way Of The World", "Reasons", "Africano", "See The Light", and "Happy Feelin". CD also features 5 bonus tracks – "Shining Star (future star)", "All About Love (first impressions)", "Happy Feelin (anatomy of a groove)", "Caribou Chaser (jazzy jam)", and "That's The Way Of The World (Latin expedition)". 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

Easy-going Verve swing at its best – the kind of small group session that let a player like Harry "Sweets" Edison shine in a way that he didn't always get to do in a larger group! For this set, Edison's joined by Ben Webster on tenor sax, Barney Kessel on guitar, Jimmy Rowles on piano, Alvin Stoller on drums and Joe Mondragon on bass – in a format that features tunes that are a bit shorter than on some of the other Verve swing sides of the time, but still very much with a relaxed and open-ended feel. Titles include several Edison originals – including "Hollering At The Watkins", "Used To Be Basie", "Studio Call", "Opus 711", "K.M. Blues", and "Walkin With Sweets". CD

Really wonderful early work from pianist Berndt Egerbladh – a player who's gotten a lot more global attention in recent years, but who sounds especially great on this rare date from the 60s! The album's a masterful showcase for Berndt's warm, fluid approach on the keys of the piano – a style that's really quite unique for the time, and a very strong precursor to modes that wouldn't show up that strongly on other scenes until the following decade. There's a really mature sound to the record, but one that never tries to hard to be "new", nor pushes its own sense of specialness too strongly. Instead, Berndt manages to stretch out spaciously, but in an understated way – a beautiful balance of color and sound that gives the record a really timeless quality. Bass is by Bjorn Alke, drums by Sten Oberg – and titles include "Mr Idrees", "Eva", "Sarek", "Monique", "Schizo", and "Days Of Wine & Roses". CD

Not the Prince music from the first Batman film – but all those other sounds that were used in the movie, penned and produced at a surprisingly strong level by Danny Elfman – who shows the world that he's got a lot more to offer than just his previous work in the group Oingo Boingo! This isn't a rock soundtrack by a fading talent from the mainstream – and instead, it's one of Elfman's first full forays into scoring – performed by the Sinfonia of London with a richness that's given the music maybe a more enduring quality than the film! Titles include "Birth Of A Penguin", "The Lair", "Selena Transforms", "Cat Suite", "Rise And Fall From Grace", "The Children's Hour", and "Final Confrontation". 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

EPMD's incredible full length debut – straight up classic hip hop that gave the genre a whole new twist. Bottom heavy funked up Long Island hip hop with what was considered slow flow rhymes at the time, and Erick and Parrish's take on funky samples that managed to bring together hard to get breaks and commercial cuts in an age when you could have both street appeal and indie cred. With the classic cuts "It's My Thing", "You Gots To Chill", "Strictly Business", "You're A Customer", "Get Off The Bandwagon" and "I'm Housin'", plus "So Let The Funk Flow", "The Steve Martin", "DJ K La Boss" and "Jane". 5 bonus tracks on the 25th Anniversary Edition: "I'm Housin' (UK Mix)", "You Gots To Chill (Dub Version)", "You're A Customer (Dub Version)" and more. CD

Sublime late live work from Bill Evans – a well-recorded performance for French radio, and one that really stands out from some of the scratchier late 70s concerts on the market! Bill's working here with a sound as sensitive and picturesque as the cover image – never pushing things too hard, but letting each tune unfold organically in waves of sound few other players could conjure up! Trio musicians include Marc Johnson on bass and Joe LaBarbera on drums – and titles on this first volume include "Quiet Now", "My Romance", "Noelle's Theme", "I Loves You Porgy", and "Up With The Lark". CD

Sublime late live work from Bill Evans – a well-recorded performance for French radio, and one that really stands out from some of the scratchier late 70s concerts on the market! Bill's working here with a sound as sensitive and picturesque as the cover image – never pushing things too hard, but letting each tune unfold organically in waves of sound few other players could conjure up! Trio musicians include Marc Johnson on bass and Joe LaBarbera on drums – and titles on this first volume include "Quiet Now", "My Romance", "Noelle's Theme", "I Loves You Porgy", and "Up With The Lark". CD

Sublime late live work from Bill Evans – a well-recorded performance for French radio, and one that really stands out from some of the scratchier late 70s concerts on the market! Bill's working here with a sound as sensitive and picturesque as the cover image – never pushing things too hard, but letting each tune unfold organically in waves of sound few other players could conjure up! Trio musicians include Marc Johnson on bass and Joe LaBarbera on drums – and titles on this second volume include "Nardis", "Laurie", "34 Skidoo", "Letter To Evan", and "Gary's Theme". CD

Bill Evans is reunited with singer Monica Zetterlund – in a live date done more than a decade after their classic Waltz For Debby album! The first side of the record features Evans in a trio mode – working instrumentally, without Monica, in a group that features the great Eddie Gomez on bass and Eliot Zigmund on drums – easily some of the better-recorded European live material by Bill from the 70s, caught in a way that really shows his new sensitivity in the later decade. Evans' piano is breathtaking here – a subtle symphony of shades and tones that delights the ears at each new twist and turn – recorded in some slightly longish takes on tunes that include "Sugar Plum", "Sareen Jurer", "Very Early", and "Gloria's Step". Bill continues the feeling of the first side wonderfully on the flip – as Zetterlund joins the group, and shows how much she's matured as well since here last meeting with Evans. Most of the tunes are standards, but they've got a sensitivity that goes way beyond familiar readings – carried off wonderfully by Monica in some beautifully dark-toned vocals. Titles include "Come Rain Or Come Shine", "The Second Time Around", "Once Upon A Summertime", "What's New", and the lovely "Samba". CD

A record that has Family very much at the top of their game – and working in a format that some of their contemporaries were trying on record at the time – serving up one side of live material, and one set in the studio! Although the group are sometimes linked to the prog scene of the time, there's a quality here that's often more hard rock overall, especially on the live material – very thunderous drums and heady guitar work, and vocals from Roger Chapman singing at the rawer side of his spectrum! Titles include "Part Of The Load", "Willow Tree", "Good News Bad News", "Holding The Compass", "Anyway", and "Normans". 2CD edition is overflowing with bonus material – the cuts "Normans (US LP edit)", "Hung Up Down (1970 single)", "Strange Band (studio)", and "The Weavers Answer (1970 single)" – plus a bonus CD with a dozen more tracks from a BBC Top Gear session in September, 1970! CD

The final studio album from Family, and a set that really has the group coming down strongly on all the best elements they crafted together on previous records! The vocals of Roger Chapman, as always, are a real charm – some of the most distinct of his generation, and perfectly at home in rootsier modes and more hard rocking passages – which are balanced out nicely on the record, and given a lean push forward with great guitars and keyboards – but never in a style that's too polished or commercial. In fact, given the lack of huge chart success for the group – at least on our side of the ocean – it's a strong testament to the quality of their work that they kept on going this strongly. Titles include the instrumental "Banger", plus "Sweet Desiree", "Suspicion", "Leroy", "Buffet Tea For Two", "Boom Bang", and "It's Only A Movie". 2CD edition features lots of bonus tracks – the single cuts "Drink To You" and "Stop This Car" – and early versions of "Boom Bang", "Suspicion", and "Stop This Car" – plus 14 more live tracks all recorded for the BBC in 1973! CD

Pure and simple genius from Tal Farlow – one of THE greatest jazz guitarists of all time, especially on these important 50s recordings for Veve! Tal's playing here with a simply incredible tone – raspy and earthy, yet with notes that are impeccably placed on his solos – making for a compelling mixture of the rough and the smooth that seems to unlock a huge future potential for the electric guitar in jazz. The group's a quartet, with Gerald Wiggins on piano, Ray Brown on bass, and Chico Hamilton on drums – and titles include "Little Girl Blue", "Have You Met Miss Jones", "Tal's Blues", "Cherokee", and "Autumn In New York". CD

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

The cover's a silly one, but the record is rock-solid all the way through – a wonderful blend of funky jazz and warmer soul, and a real lost treasure from the 70s TK Records empire! Fat is Fats Gallon – who plays drums on the record, and also sings lead vocals a bit too – with this raspy southern soul style that's a great counterpoint to the smoother sounds on the set! Things get plenty funky and tough throughout – and the small combo lineup ensures that the record steers quite clear of the more commercial styles that were coming out of the Miami scene in the 70s. There's a jazzy inflection to most of the instrumentation, which makes for some compelling changes that have kept this set going strongly with new generations over the years – and the instrumentation includes loads of great guitar and keyboard bits too. Titles include "Doing Bad", "Tip Of My Tongue", "How Can I Explain", "Magician Man", "Life Is A Beautiful Thing", "Satan's Dream", and "Free My Mind". CD

A really cool little record that's essentially the start of the great musical legacy of Ellen McIlwaine – a group effort, but one that still features Ellen on vocals and arrangements – as well as work on harmonica, guitar, and organ! The style is more blues-influenced than some of the acoustic moments of McIlwaine's great Polydor records from a few years later – but as with those, there's also a genre-defying approach that's mighty nice – with some currents of funk in the offbeat arrangements, which really keeps things interesting! Lead guitar is from Chris Zaloom, who has a heavier, headier quality than you might expect – and titles include "Crawling Kingsnake", "The Letter", "Mossy Dream", "Billy Gene", "Born Under A Bad Sign", and "Bow'd Up". 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 dream band indeed – as the set features Maynard working with some excellent players who manage to come together tightly as a unit, then break out in really strong and hard-blown solos! Even in these early recordings, the style of the Ferguson group is firmly in place – incredible tightness, but a real respect for the soloists – and a power to kick it louder and larger than even in a small group setting. Players include Herb Geller, Al Cohn, Hank Jones, Budd Johnson, and Ernie Wilkins – and titles on this first volume include "Maynard The Fox", "The Wailing Boat", "Somebody Wants Me Down There", "Little Girl Kimbi", and "Button Nose". CD

A really fantastic record from one of the coolest groups to emerge from the Texas psych scene at the end of the 60s – a combo who here maybe reach their height in a style that uses conventional instrumentation, but with a way of pushing them out in all sorts of fantastic and ambitious directions! Vocalist Dennis Keller is incredible – with a very moody style that might give Jim Morrison a run for his money – and the keyboards seem to include a bit of electric harpsichord, which increases the slightly eerie quality of the album too! The group turn in a stunning remake of the Love tune "She Comes In Colors" – nicely different than the original – and other titles include "I Put A Spell On You", "Hey Mister", and "Girl Don't Push Me" – plus a massive side long version of "Hey Joe". CD

Natasuki Tamura on trumpet, Satoko Fujii on piano, Kelly Churko on guitar, Tatsuhisa Yamamoto on drums. CD

Ella Fitzgerald sings Broadway – but in a way that makes the tunes completely her own! Marty Paich turns in some great jazzy arrangements for the set – and the tunes are far more swinging than the usual showtunes you might expect – stripped of all their stage-bound drama, and retooled by Paich as these tight little vehicles for Ella's amazing vocals! The album's arguably more expressive than even some of Fitzgerald's previous songbook sessions – even though most work comes from the same American stage mode – titles that include "Hernando's Hideaway", "I Could Have Danced All Night", "Whatever Lola Wants", "Guys and Dolls", "If I Were A Bell", "No Other Love", and "Steam Heat". CD

One of the great Pablo Records efforts to revisit the jazz sound of the 50s – but in fresh new ways allowed by the freer recording modes of the 70s! The album features Ella Fitgerald and Joe Pass, plus nobody else – just voice and guitar coming together in quiet, introspective ways that are completely sublime, and a very nice change from some of Ella's fuller band recordings of the few years before this album. And far from being sleepy, the intimacy of the record almost seems to set a new kind of fire – one that comes from the gentle persona of Ella, which is a far cry from the glass-breaking singer that she'd come to be known as in the mainstream! Titles include "Take Love Easy", "Once I Loved", "Lush Life", "You're Blase", "A Foggy Day", "I Want To Talk About You", and "You Go To My Head". CD

A really unusual group, with a vibe that's wonderfully hard to peg – partly funky, maybe a bit jazzy, and with some prog and blues rock elements in the mix too – yet all served up in a blend that's very much the group's own! There's a number of tracks that almost feel like they began as studio jams, which then have "singer" Richie Hamilton kind of speaking some lyrics that are often muted a bit next to the riffing guitar, bass, and drums – while a few other tracks have a stronger instrumental vibe, with very strong guitar work from Frank Vandenkloot. Eric Tagg makes a great appearance on Fender Rhodes on the cut "Friends" – and other titles include "Victim Of The Past", "What Is Man", "I'll Never Let You Go", and "Necernomicon". CD

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

Kieran Hebden's third album as Four Tet – an unpredictable, completely hypnotic batch of abstract beatcraft that sounded like it was built to last when it first appeared in the early 00s – and sure enough, it's sounds as fresh as ever a decade+ later! What makes Four Tet at his best so irresistible is the way to rolls from loosely connective beats and hazy atmosphere on one track to heavy sensory overload and back again, fully hypnotizing either way, and all the while holding together in a way that feels of like a single piece. There's a lot of different sounds coming in and out, and not a single audible bit of it is dispensable. Near perfection from one of the more creative laptop instrumentals of his generation. Titles include "Hands", "She Moves She", "First Thing", "My Angel Rocks Back And Forth", "Spirit Fingers", "Unspoken", "Chia", "As Serious As Your Life", "Aney They All Look Broken Hearted" and "Slow Jam". 10th Anniversary edition includes a bonus CD featuring a full live performance from Copenhagen, 2004. 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 seminal session from Curtis Fuller – one of a handful he cut for Savoy, recorded during that late 50s/early 60s period when he seemed poised to become one of the biggest trombonists in jazz! (Whatever happened? How did he cut so many records as a leader so fast, then slide back into being a sideman for most of the rest of his career?) The set's cut in that laidback blowing session mode of the Savoy hardbop years – with tremendous work from Benny Golson on tenor, plus Tommy Flanagan on piano, Jimmy Garrison on bass, and Al Harewood on drums – all working through easily-handled tunes that include "Minor Vamp", "Love Your Spell Is Everywhere", "Five Spot After Dark", and "Twelve Inch". Think soul jazz with a slight touch of mysticism! CD also features 3 bonus alternate takes of tunes on the album! 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

Titles include "Red Rain", "Sledgehammer", "Don't Give Up", "In Your Eyes", and "Big Time". CD

Some of the best material Slim Gaillard ever recorded! Although he's best known for his Verve work, and for his early 40s sessions in LA – these 1959 recordings for Dot have Slim hitting a groove that's far tighter than usual, with a better jazz influence, and a much freer approach to singing than his usual stock style. There's a wonderful version of "How High The Moon" that's got crazy guitar, and wild lyrics from Slim about life on the moon. Other nice cuts include "Sukiyaka Cha Cha", "Chicken Rhythm", "Slim's Cee", "Lady Be Good", and "Thunderbird". If you've ever wondered why people think Slim is so great, check this one out – and you'll flip! CD

One of Serge Gainsbourg's best albums ever – a set that we love every bit as much as his Melody Nelson classic, or his killer records with Jane Birkin! The set was recorded in the mid 70s, and it features amazing orchestrations from Alan Hawkshaw – backings that are even better than Hawk's previous sound library work, and which are filled with loads of cool spare moogy and electronic bits filtering in and out of the mix! Some tracks bubble with the same brooding brilliance and funky touches that you'd find on the Melody Nelson album – and others have a uniquely spacey quality that's unlike any of his other work! Tracks include "Transit A Marilou", "Aeroplanes", "Variations Sur Marilou", "Premiers Symptomes", and "Lunatic Asylum". A great record – and one of the first of Serge's that we'd recommend! 2CD version features a whole bonus set of instrumental tracks from the album sessions – and alternate versions of "Transit A Marilou", "Lunatic Asylum", "Meurtre A L'Extincteur", and "Ma Lou Marilou". CD

An album with "midwest" in the title, but one that features Arlyn Gale standing under the Brooklyn Bridge – and coming across in a really cool hybrid of singer/songwriter and more polished AOR modes! Gale himself plays acoustic guitar, instead of electric – which matches the spirit of his raspy, unpolished vocals, and gives the record some of the charms that you might hear from early Springsteen – not that Arlyn's like the boss at all, but he just has a way of balancing a sense of individuality with bigger label production. Omar Hakim is part of the group on drums – and titles include "Suspicious Fires", "She's Alright", "Halfway To Hell", "Take The Night Flight", "Tiger On The Lawn", and "Sunrise On Sunset". CD

One of those really great records from a time on the UK scene when some groups were effortlessly mixing jazz and rock elements up in the mix – but in ways that are very different than some of the more familiar jazz rock modes of the mainstream! Gaillard have plenty of strong horn solos on this set – not in a brassy bigger lineup, but as a way of bringing in tenor, trumpet, or other instruments where you might normally have a guitar solo – also blown with qualities that show that the musicians in the group are doing a lot more than just flavoring in the tunes! Players include Tony Roberts on tenor and flute, Lyle Jenkins on tenor and baritone, Dave Caswell on trumpet, and even the great jazz musician Harry Beckett on flugelhorn – and the record also sports some nice sitar, Hammond, and electric piano as well. Geoff Brown and Andy Abbott handle vocals – and titles include "Open Up Your Mind", "Something's Going On", "Premonition", "In Your Minds Eye", "Winter Spring Summer", "Ask For Nothing", and "New Dawn Breaking". 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

One of the few cases in the history of pop music where the record is worth all the hype! Marvin blew everyone's mind when he unleashed this amazing suite of political soul tunes – not only just because he'd moved past the simple love songs of earlier years, but also because he was working with an amazingly complicated approach to soul music, one that would touch the work of others for years to come. David Van DePitte arranged and conducted the whole album – with soaring orchestrations mixed with smooth modern soul, in a style that reminds us a lot of the work of Charles Stepney at Cadet, who'd been doing this sort of thing for years but with less success. In the hands of Marvin Gaye, though, the material has an amazing quality – and all the disparate elements of the album are fused together in one powerful message by Marvin's incredible voice. One that we never tire of, and a record to be listened to all the way through every time. Titles include "What's Goin On", "Save The Children", "Flyin High (In The Friendly Sky)", "Mercy Mercy Me (The Ecology)", and "Inner City Blues (Make Me Wanna Holler)". CD also features the b-side bonus tracks "God Is Love", done in an alternate take, and "Sad Tomorrows"! CD

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

Although pressed up by Verve, the music is definitely Imported From Europe – as Stan Getz plays here with a host of great Swedish players – on a date that makes for a real standout in his 50s catalog! Stan was living in Sweden at the time of the album – bringing a big influence to the scene there, and furthering the already modernist tones that some of the nation's best players were creating in the postwar years. There's a brilliant blend of iciness and warmth going on here – and players include Bengt Hallberg on piano, Ake Persson on trombone, Erik Nordstrom on tenor, and Lars Gullin on baritone – plus American Benny Bailey on trumpet, who was also making a home for himself over there at the time! Tracks are long, sometimes with a lively jam session-ish feel – and titles include "Bengt's Blues", "Topsy", "Speak Low", and "Stockholm Street". CD

A nice little collection of some of Dizzy Gillespie's best bop material for Savoy – tunes that were originally recorded as 78rpm singles – then issued together on this classic album of all-star players! The tunes are short, catchy, and often very grooving – that mix of whimsy and modernism that made Dizzy stand out from the start – handled by a few different groups of players, with musicians who include Milt Jackson on vibes, John Coltrane on tenor, Wynton Kelly on piano, and Percy Heath on bass. Titles include "Tin Tin Deo", "Star Dust", "The Bluest Blues", "The Champ", "Birk's Works", "Caravan", "Time On My Hands", and "Ooh Shoo Be Doo Bee". CD

Way more than the simple Charlie Parker tribute promised in the title! For starters, the set's got two of the best cuts by Gillespie's mid 60s group with James Moody – "Um-Hmmm" and "Groovin High" – both of which have Moody playing in an incredibly unbridled tone that's just great! Next up are Coleman Hawkins and Roy Eldridge fronting a hip group with Billy Taylor on a long version of "Now's The Time". Taylor also makes an appearance on Dave Lambert's scatted vocal version of "Donna Lee", as well as on a large group medley of the tunes "Bird Watcher" and "Disorder At The Border". Finishing off the set is an amazing Lee Konitz solo version of "Blues For Bird", his own composition, played as a spare solo tune on alto! 9 tracks in all. CD

A great little blowing session for Verve – one that has Dizzy Gillespie working here with two different "Sonnys" – Sonny Stitt and Sonny Rollins, both of whom play tenor on the set! The tracks here are all quite long and open – more loose vehicles for extended soloing than the usual sort of Verve tracks – almost a mini-jam session with the three horn giants in the lead. Rhythm is from the trio of Ray Bryant on piano, Tommy Bryant on bass, and Charlie Persip on drums – but the real stars are the horn players – not just Diz, who cuts some of his hippest lines of the late 50s here, but also Rollins and Stitt, who seem to get a bit more care in recording than they did over at Prestige earlier in the decade. Album features 4 long tracks – "On The Sunny Side Of The Street", "After Hours", "I Know That You Know", and "The Eternal Triangle". CD

A great solo set from tenorist Binker Golding – an artist we usually hear on the Gearbox label as part of the Binker & Moses combo, but who maybe sounds even bolder and stronger here in the lead on his own! The set's a quartet date, with a relatively straight group – but the sound is wonderful – overflowing with new ideas, and this sense of voice from the leader that gets fantastic support from Joe Armon-Jones on piano, Daniel Casimir on bass, and Sam Jones on drums! Nobody's pushing too hard, or trying any tricks – yet there's a freshness and individual spirit to the record right from the very first note – unusual rhythms from the trio, and more confidence in Golding's sound than we've ever heard before. Titles include "Skinned Alive Tasting Blood", "Fluorescent Black", "You That Place That Time", "And I Like Your Feathers", and "Exquisite She Green". CD

Rare Blue Note work from Dexter Gordon – an album that was recorded during Gordon's legendary run for the label in the 60s, but not issued until a brief vinyl pressing nearly 15 years later! The record's got Gordon vamping in tight hardbop formation – a sound that's strongly 60s Blue Note all the way through, and which shows the great control that the label helped bring to Dex's music – giving him new focus and energy to take off on much freer flights later in the 60s. Other players on the date include Freddie Hubbard on trumpet, Barry Harris on piano, Billy Higgins on drums, and Bob Cranshaw on bass – and Hubbard's trumpet is an especially welcome element here on the more upbeat numbers. Titles include "Hanky Panky", "Jodi", "Lady Iris B", "Clubhouse", and "Devilette". CD

A really unusual album for Dexter Gordon – one that has him working in a quintet with vibes by Bobby Hutcherson! Hutcherson's sound really transforms the session, giving it a shimmering middleground that disperses the dominance that Gordon's tenor usually has – and creating a warm, fluid feel that's really great. Barry Harris is in the group on piano – providing some wonderful accompaniment that's a great fit for Hutcherson's vibes – and the rest of the group is completed by the excellent rhythm section of Bob Cranshaw on bass and Billy Higgins on drums! The album includes a great version of "Manha de Carnaval", plus a Dex original, "Le Coiffeur" – and the tracks "Heartaches", "Who Can I Turn To", and "Everybody's Somebody's Fool". CD also features the bonus tracks "Flick Of A Trick" and "Very Saxily Yours". CD

An amazingly simple – but amazingly satisfying session from Dexter Gordon! The group's a totally solid quartet with Sonny Clark on piano, Butch Warren on bass, and Billy Higgins on drums – and the groove is right in the pocket with a solid solid soulful feel that you don't always get on Gordon's other Blue Note albums! There's a simple elegance here that's really beautiful – Gordon at his post-bop best, but without any of the over-extended modes of his too-long solo years – a mix that's really rare, and carried off impeccably for this set. The record starts with the amazing "Soy Califa", a nice hardbop number with a good Latiny feel, then slides into lots of other nice ones like "McSplivens", "The Backbone", and "Don't Explain". CD

The first album issued by the Grateful Dead on their own label – a setting that might make you think they'd act with less control than when at Warner Brothers, but which actually seems to have them doing the reverse! The whole thing's a great back-to-basics effort – sharp songs, rootsy instrumentation, and this nicely compact presentation of all the best ideas they'd been percolating for the past five years – maybe expanded a bit on the longer "Weather Report Suite" that ends the record, but tight and sing-songy on most of the rest – titles that include "Row Jimmy", "Stella Blue", "Let Me Sing Your Blues Away", "Eyes Of The World", and "Here Comes Sunshine". This 50th Anniversary is loaded with bonus material, too – with demo versions of "Eyes Of The World" and Here Comes Sunshine" – plus a second CD featuring previously unreleased live material recorded at Northwestern University's McGaw Hall, on November 1, 1973 – with their "Weather Report Suite" and more! CD

The Great Jazz Trio really stretch out here – taking each of the album's four songs at a mighty relaxed pace – which allows even more room than ever for the creative expression of Hank Jones on piano, Ron Carter on bass, and Tony Williams on drums! The cover's got a slick look that might be more at home on a fusion record – but the set's all acoustic, and has this warm, personal vibe that's really tremendous – that special sound that the three legendary musicians brought to their great run of albums in this format! Titles include "Satin Doll", "My Funny Valentine", "Night In Tunisia", and "Round Midnight". CD

A beautiful little session from one of the greatest guitarists ever! The album's part of Blue Note's tendency to "churchify" Grant Green on some albums – giving his guitar a gospelly groove that has some nicely soulful connotations – but it's also a record that's maybe the strongest of that bunch, as it's got this approach that's loose and open – and which has this fantastic flow that's aided by the piano of Kenny Drew! Drew is the equal star on this set – and the longer tunes on the record really allow for plenty of open solo space – and the whole thing shines with Drew's piano matching lines with Green's strung-out single-note solos. The groove is pretty hard, and the recording quality keeps the whole thing nice and lively – thanks also to work from Ben Tucker on bass and Ben Dixon on drums. Titles include "Sunday Mornin", "Come Sunrise", "Exodus", and "Freedom March". CD features the bonus track "Tracin Tracey". CD

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A work of understated brilliance from guitarist Jim Hall – and one of our favorite records by him! The setting is simple – Hall plays live with a trio, on a set of familiar standards – but the results are remarkable, as both Hall and the rhythm section manage to bring a hell of a lot of swing and imagination into such a tiny space! Hall's always had a rhythmic approach to his work, but here, playing with drummer Terry Clarke and bassist Don Thompson, he really opens into a great groove – stretching things past his usual standard, and bringing a lot more soul into the set than you might expect. The tunes are ones you'll recognize – "Angel Eyes", "Round Midnight", and "The Way You Look Tonight" – but the real charm is what Hall and the trio do with them! CD

A gem of an album from trumpeter Matthew Halsall – his third on the Gondawa label, and like all the others, a set that we'd easily rank right up there with the best 70s spiritual jazz on labels like Strata East or Black Jazz! The set's got a fluid sound that's extremely compelling – kind of a post-Coltrane vibe that has all the players stretching out nicely, but always in a soulful way – never too overdone, or too avant – always staying in the right sort of expressive modes to keep their energy focused. And in the group with Halsall's trumpet is the tenor of Nat Birchall – labelmate on Gondawa, and a player we totally love too – with rhythm support from Adam Fairhall on piano, Gavin Barras on bass, and Gaz Hughes on drums – plus a bit of harp from Rachael Gladwin on one track. Titles include "Samatha", "The End Of Dukkha", "Song For Charlie", and "Music For A Dancing Mind". Remastered edition – features bonus tracks "Only You", "Singing Everyday", and "Breathless". LP, Vinyl record album

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

A wonderful Herbie Hancock session from the 60s – a Blue Note album that's sometimes overlooked, but which really shows Herbie taking off – as he adds a nice dose of lyricism into his usual soul jazz approach from the 60s! The sound's a bit farther-reaching than on some of Hancock's smaller group sessions – and the record features a sextet that includes Jerry Dodgion on flute, Thad Jones on flugelhorn, and Peter Phillips on bass trombone – an instrument that combines wonderfully with Thad's horn, to create all these cool, compressed elements. Herbie plays piano alongside Ron Carter on bass and the great Mickey Roker on drums. The harder-hitting soul jazz riffs and hooks of Herbie's first few records are nicely replaced by more thoughtful lines that get a bit deeper, soulfully – and nearly all tracks on the set are originals by Hancock! The album's filled with great moments – and tracks include "The Sorcerer", "Riot", and "Goodbye To Childhood". CD features 3 bonus alternate takes! CD

A legendary album – and for good reason too – a set that's as mysterious as it is funky, and a record that's stayed at the top of our crates for years! The album features a really unusual collective of musicians, pulled together under the guidance of producer Paul Winley – a group that features George Benson on guitar, Dave Baby Cortez on organ, Willis Jackson on tenor sax, and Earl Williams on some massively funky drums! The music's a mix of funky jazz and gritty soul – put together with some really weird studio touches – including an uncredited male voice that comes in and out of the tracks, bad-rapping along with some very hip commentary. Ann Winley sings the female vocals on the set – often egged on by the dude – but the real charm of the record lies at the bottom – the wicked drums, funky basslines, and choppy instrumental bits that have gotten the set sampled plenty over the years. Titles include the classic "Smokin Cheeba Cheeba" alone, the groovy "Finger In It", a great breakbeat version of "Ain't No Sunshine" with a tenor solo by Willis Jackson, and the slow bluesy talking cut "Fed Up", a baaaad rap about a couple splitting up – done here in both vocal and instrumental versions. 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

Classic early 70s space rock from Hawkwind – mixing punchy, fuzzy aggression with trippy post psych soundscapes – with less keyboard-heavy prog noodling and tighter vibe! Doremi Faso Latido is the first Hawkwind album with Ian "Lemmy" Kilmister in the lineup, and although we can't say that this is why it's got a tighter sound, it's probably fair to speculate. It's great, whatever may make it so! Includes "Brainstorm", "Space Is Deep", "Lord Of Light", and "Down Through The Night". CD

A seminal set from Hawkwind – a record that virtually defines the term "space rock", and which went on to create a whole genre unto itself! The live setting is perfect for the group – as they open up on long tracks that blend together odd touches, sci fi elements, and some mighty heavy rock lines too – all with some trippy vocals that really send things over the top! Lemmy's a mad genius at this point – and the record's got a ballsy power that's quite different from more prog-based groups who travel down similar paths, but never with ferocity like this. Titles include "Earth Calling", "Born To Go", "Down Through The Night", "The Awakening", "Upside Down", "10 Seconds Of Forever", "Brainstorm", "Seven By Seven", "Sonic Attack", Welcome To The Future", "You Shouldn't Do That", "Time We Left This World Today", and "Master Of The Universe". Packaged in a nice foldout sleeve, with printed inner-sleeves, poster, program and insert of notes mostly in Japanese. CD

A key outing from drummer Roy Haynes – a classic trio session that has a lot more energy than the usual set from the time – thanks to equal participation from Paul Chambers on bass and Phineas Newborn on piano! The unified approach hinted at in the title certainly comes through in the grooves – as Chambers bass works way more than rhythm here – and Haynes' drumming is lightly melodic on the best numbers, allowing Newborn to almost handle more of the pace of the tunes himself. Tracks are longish, and titles include "Reflection", "Sugar Ray", "Solitaire", "Our Delight", and "Sneakin Around". CD

A lucky number 13 from Lee Hazlewood – one of the artist's last albums during his legendary LHI run of creativity – and a set that marks a really groovy step forward! The music here has all the wit and sharpness of Lee's better-known late 60s material, but there's also a bit of a groove too – some currents that were brought to the record by Larry Marks, then given a special Hazlewood touch when Lee's vocals were added – all in a way that almost makes for a soulful 70s update to his 60s sound! The set was only issued during Lee's time in Sweden during the early 70s – which makes it one of his rarest records ever – and titles include "You Look Like A Lady", "Tulsa Sunday", "Ten Or 11 Towns Ago", "And I Loved You Then", and "I Move Around". Features the bonus tracks "Drums", "Susie", and "Cold Hard Times (outtake)". 2LP edition features 30 tracks in all – including acoustic demos, unreleased tracks, and more – including the rare tunes "Peppermint Morning", "Miracle On 19th Street", and "I'm Riding". LP, Vinyl record album

There was never anyone like Lee Hazlewood – and this album is a true testament to his genius! He's the kind of guy you think you've got figured out when you first look at him – but the more you listen to his music, the more you want to raise him above all of the other hip singer/songwriters he seems to be like (Gram Parsons, Leonard Cohen, etc). At heart, Lee was a Cowboy – much more so than any of those fake LA "desperadoes" of the Sunset rock years – and this album, recorded as part of the enigmatic film A Cowboy In Sweden, is true testament to Lee's incredible ability to be both totally serious about his image, yet still maintain a sense of wit and distance that makes him incredibly hard to pin down, genre-wise. He's the country singer Scott Walker always wanted to be, and he's got a pop genius that Leonard Cohen painfully tried to reach in his later years. Brilliant! Filled with beautiful titles like "Forget Marie", "Pray Them Bars Away", "Easy & Me", "No Train To Stockholm", and "The Night Before" – one that you won't forget for a long time! This rare deluxe version features a bonus album of unreleased tracks – outtakes, demos, and instrumentals! LP, Vinyl record album

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

A classic straight session by Joe Henderson – cut during his early years, when he was breaking out of the box with a heck of a lot of fire! Kenny Dorham's subdued lyricism complements Joe's impassioned playing over the angular, yet still-swinging rythm section of Andrew Hill, Eddie Kahn and Pete La Roca. The track "Pedro's Time" reflects Joe's fascination with Latin-flavored pieces (as evidenced by Joe's previous effort Page One, and his work on Dorham's Una Mas), while pieces like "Teeter Totter", "Our Thing" and "Back Road" play with time and structure in subtle ways. CD includes a bonus alternate take of "Teeter Totter (alternate take)". CD

A fantastic session by this groundbreaking modernist – essentially a piano trio album, but recorded with two bass players – Richard Davis and Eddie Kahn – one of whom plays rhythm, the other who solos along with Hill – which makes for a really amazing sound – especially when you realize that the great Roy Haynes is on drums! The result is one of Hill's darkest piano outings, brought even deeper by the bass accompaniment, and the lack of any other horns to support the set – the kind of standout session that somehow made every one of his Blue Note albums so distinct from each other – even though they are so fantastic when considered as a whole – a key moment in jazz during the 60s. The album includes Hill's brilliant "Ode to Von", dedicated to Von Freeman, one of his early teachers – plus the tracks "Verne", "Not So", "Wailing Wall", and "The Day After". CD features 4 bonus alternate takes too! CD

A wonderful pairing of this German pianist and American tenor star Zoot Sims – and an album that may well be the greatest that Jutta Hipp ever cut! Hipp was one of the rising stars of the German postwar jazz scene in the 50s – and although she issued other American albums in the decade for Blue Note and Decca, this side's probably the best-remembered of the bunch – thanks to the presence of Zoot, and support from a great rhythm section that includes Ahmed Abdul-Malik on bass and Ed Thigpen on drums – both of whom match the modern tones of Jutta's piano, but also give a solidly soulful Blue Note feel to the set. The group's completed by trumpeter Jerry Lloyd, who helps bring a nice sparkle to the frontline – and titles include "Just Blues", "Wee Dot", "Almost Like Being In Love", and "Down Home". CD features 2 bonus tracks – "S'Wonderful" and "These Foolish Things". CD

A velvet mood, but one with a bit of an edge – as you might expect from Billie Holiday in the 50s, hardly the stuff of a too-soft vocal date! The album's got Holiday working in wonderful small combo mode – getting some key Verve backup from players who include Sweets Edison on trumept, Benny Carter on alto sax, Barney Kessel on guitar, and Jimmy Rowles on piano – a warmly intimate group who really fit the sad-tinged vocals from Billie. Tracks are longish – maybe a bit more so than usual for a Holiday Verve session – and the set list includes beautiful renditions of "What's New", "I Gotta Right To Sing The Blues", "Prelude To A Kiss", and "When Your Lover Has Gone". CD