Early bootleg recording of Flash & the Furious Five, with an old school beat mix on the flip, one that's about as rough as you can get and still be dope, reported by some to actually by Afrika Bambataa and Afrika Islam. It may seem a little primitive by today's standards, but it's an essential portrait from the formative years of hip hop. 12-inch, Vinyl record

A aural tour of the deep crates of one of modern underground hip hop/jazz/funk's greatest practitioners – a genius blend of rare jazz, funk and more compiled and mixed by Madlib – plus an epic live DJ set! The first half is a blend of "Dirty Crates From Around The World" – a mix that's just eccentric enough – with lots of funky drums and bass lines, and the psychedelic touches you just knew Madlib would roll through! The second half is Madlib live on the wheels of steel – titled Live At The Do-Over - a beat heavy DJ set that displays a side of 'Lib we don't hear enough of in the studio! 2 35+ minute DJ sets from Madlib on 1CD! CD

The title certainly gets it right – as the album definitely brings a bit of jazz into the mix for the great John Mayall – given that the set features strong work from funky jazz heavyweights Blue Mitchell on trumpet and Freddy Robinson on guitar! Both are musicians that we love for their late 60s records on their own, and they work mighty nicely here with Mayall in a live setting – alongside heavy saxes from Clifford Solomon, and lots of great guitar, harmonica, and piano from John Mayall himself! The style is still more blues than jazz, but definitely shows an expanding style past the more slavish roots of Mayall's early years – especially reflecting his new interaction with the American scene after the breakup of the Blues Breakers. The first side of the album features a live set from Boston – and includes "Country Road", "Mess Around", "Good Time Boogie", and "Change Your Ways" – side two is from New York shows, and features three longish tracks – "Dry Throat", "Exercise In C Major", and "Got To Be This Way". CD

The title certainly gets it right – as the album definitely brings a bit of jazz into the mix for the great John Mayall – given that the set features strong work from funky jazz heavyweights Blue Mitchell on trumpet and Freddy Robinson on guitar! Both are musicians that we love for their late 60s records on their own, and they work mighty nicely here with Mayall in a live setting – alongside heavy saxes from Clifford Solomon, and lots of great guitar, harmonica, and piano from John Mayall himself! The style is still more blues than jazz, but definitely shows an expanding style past the more slavish roots of Mayall's early years – especially reflecting his new interaction with the American scene after the breakup of the Blues Breakers. The first side of the album features a live set from Boston – and includes "Country Road", "Mess Around", "Good Time Boogie", and "Change Your Ways" – side two is from New York shows, and features three longish tracks – "Dry Throat", "Exercise In C Major", and "Got To Be This Way". LP, Vinyl record album

A brilliant little record, and one that really lives up to the heady claim of its title! The lineup here is spare, but the sound is really full – swelling with complicated colors, images, and tones that delight us with each new track – a masterpiece in understatement, and one of the most perfectly realized blends of acoustic and electric jazz instrumentation from the late 70s! The sound is really a perfect "fusion" of modes – with guitar from Vic Juris and keyboards from Barry Miles dancing alongside the bass of John Burr and drums of Terry Silverlight – never too jamming or too rock-influenced, but always filled with energy and a sense of imagination. Titles include the beautiful "Tandoori" – a stone jazz dance groover with some great scatted vocals alongside the guitar – and other tracks include "Sunrise", "Streams", "Routes", "Follow Me", and "Country Miles". LP, Vinyl record album

A pretty darn important album for Wes – as it was his first session with the sort of larger arrangements that would later make him huge! Although Montgomery was mostly recording for Riverside in small combos, this session has him playing in front of larger backings by Jimmy Jones – not as sublime as later work by Don Sebesky or Gil Evans, but done in a way that definitely shows that Wes can do a lot with the guitar when freed from the need to stick with the rhythm strongly. Titles include "All The Way", "Pretty Blue", "Somewhere", "God Bless The Child", "Tune Up", and "Baubles Bangles & Beads". LP, Vinyl record album

A double-header of sweet-styled early work from Wes Montgomery! First up is the album Fusion – a pretty darn important record for Wes – as it was his first session with the sort of larger arrangements that would later make him huge! Although Montgomery was mostly recording for Riverside in small combos, this session has him playing in front of larger backings by Jimmy Jones – not as sublime as later work by Don Sebesky or Gil Evans, but done in a way that definitely shows that Wes can do a lot with the guitar when freed from the need to stick with the rhythm strongly. Titles include "All The Way", "Pretty Blue", "Somewhere", "God Bless The Child", "Tune Up", and "Baubles Bangles & Beads". Next up is a batch of ballads and late nite tunes from his trio recordings of 1963 – titles that include "Dreamsville", "Yesterday's Child", "For All We Know", "Days Of Wine & Roses", "Too Late Now", "Whisper Not", and "For Heaven's Sake". LP, Vinyl record album

An aptly titled album, given how important Urbaniak was to the sound of 70s fusion – and a tightly wrapped batch of tracks that features this Polish violinist really grooving hard on a number of tracks. The general approach here is a keyboard/violin one – with Urbaniak dancing nicely with a range of keyboards played by Adam Mackowicz and Wojciech Karolak, all fiercely jamming, but always with enough space to be funky. Ursula Dudziak sings on a few cuts – and titles include "Good Times Bad Times", "Bahamian Harvest", "Seresta", "Fusion", and "Bengal". LP, Vinyl record album

Michal Urbaniak's third Fusion set for Columbia – very fittingly titled, considering what a huge influence his playing had on the genre! The album's a very tight batch of groovers – soaring and spacious, but never overindulgent – sometimes featuring scatting vocals by wife Urszula Dudziak, and also sporting strong rhythms from drummers Gerald Brown and Steve Gadd – both of whom really bring a nice solid bottom to the set, and help keep things focused! Yet then again, Urbaniak's always been one of the more focused players of his generation – especially on American recordings like this. There's lots of keyboards and electric grooving in the mix – and titles include "Chinatown", "Bloody Kishka", "Cameo", "Stretch", "Metroliner", "Roskana", and "Kuyaviak Goes Funky". LP, Vinyl record album

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One of the best of the Abstract Funk series – a blend underground tracks that includes some nice entries from the London scene and the Compost crew! Titles include "Full Circle" by Nathan Haines, "Motion" by Claude Young, "Midday Sun" by Ian O'Brien, "Fact Of The Matter" by Anthony Shakir, "Close To Greatness (Deep Joy mix)" by Classen Collective, "Vonga Vongue" by New Sector Movements, "Piano Black (Ian O'Brien rmx)" by Soundtrack From Cowboy Bebop, and "Introspection" by Jazzanova. 12 tracks in all. LP, Vinyl record album

This first volume of Compost's Glucklich series is one of the most groundbreaking compilations of the 90s! It brings together 10 stunning rare German fusion tracks that have a deeply Brazilian groove – and the set is not only interesting from a cross-cultural perspective, but it's also a fantastic treat for funky listening. Nearly all of these tracks are totally rare, and you'll never find them in the original. They all sparkle with a deep sense of imagination, creativity, and a strong desire to groove – and titles include "Ocean Song" by Sunbirds, "Mixing" by Rainer Pusch Quartet, "Mato Pato" by Kitty Winter, "Mystic Latin" by Namaz, "Onkle Joe" by Catch Up, and "Glucklich" by To Be. Great stuff, and one that we still come back to again and again! CD

Don't let the title or the bunny on the cover put you off, because there's nothing toy-like about these tunes – and the package is an excellent batch of rare German grooves put together with the same high level as other collections on the Perfect Toy label! Ex-Spinning Wheel mainman Marcus Hacker put together this one – and the grooves remind us a lot of some of the older SW sound library compilations – all awash in flavors borrowed from Brazilian bossa, American funk, Brit easy, and other genres – remodeled into a German economic miracle mode by a variety of jazz and studio players! The sound here is really really fresh – funky, but with lots of odd little touches and unusual instrumentation – a bit in the In Kraut mode, but more direct overall, and slightly less kitschy (although the set does have a few charming moments in that respect.) A number of tracks have vocals – some sung, some scatted – and titles include "Photographs" by Swegas, "Cameleon" by Kaate Frits Quartet, "Drift" by Orchester Heinz Kiessling, "Soul Samba" by The Earthquakers, "Guarana Guaranar" by Grupo Veneno, "Sara" by The Voices, "I Mimi" by Idili Tsaliki, "Memories Of Yesterday" by Othella Dallas, and "Salsamba" by Chet Baker & The Boto Brasilian Quartet. LP, Vinyl record album

The second volume in one of our favorite compilation series of the past few years! Natural High explores the smoother side of soul – digging around the Warner vaults of the late 70s and early 80s to come up with some really great tracks! The sound here is a mixture of mellow and uptempo grooves – Brazilian beats coming into play with jazzy funk, soulful vocals on most numbers, and a warm finish that will have you coming back to this one again and again and again. 16 tracks in all – most pulled from long out of print LPs, many of which haven't been reissued. Titles include "Call On Me" by Anglo Saxon Brown, "You Can't Hide Love" by Art Webb, "Sideway Shuffle" by Linda Lewis, "Game Of Life" by Chameleon, "Simple & Sweet" by Roy Ayers Presents Ubiquity, "Forget Me Nots" by Patrice Rushen, "You're A Star" by Aquarian Dream, "Keep The Fire Burning" by Gwen McCrae, "Very Special" by Debra Laws, "Mysterious Maiden" by Chico Hamilton, "Feeling Something" by Ronn Matlock, and "Toque De Cuica" by Airto. LP, Vinyl record album

One of the hippest sets ever in the Pulp Fusion series – an amazing collection of rare funky tracks that goes past the obvious 70s classics on other volumes! This double-length volume is the work of Monk-One – who's clearly willing to dig a bit deeper than most, and come up with fresh tunes that really re-ignite the series, and show us why it's been one of the most trusted funky collections around for years. There's loads of rare nuggets here – and cuts include "Shack Up" by Banbarra, "Keep On Dancing" by Alvin Cash, "Up Above The Rock" by Ray Bryant, "El Jardia" by Johnny Pate, "Hercules" by Aaron Neville, "Inner City Blues" by Sarah Vaughan, "Take Me With You" by Lyn Christopher, "Keep It Up" by Milton Wright, "Gengis" by Chico Hamilton, "Fried Chicken" by Rufus Thomas, "Submission" by Tyrone Washington, "Through It All There's You" by Robert Palmer, "Senga" by Manu Dibango, "Black Water Gold" by African Music Machine, "Reach Out" by Lee Moses, and "Happy Man" by Latin Blues Band. CD

A jazz funk masterpiece, and THE record by the legendary Don Blackman – the only one issued under his own name for many many years, and a famous little set that's been sampled endlessly over the years, and for good reason! The vibe here is one that's barely been matched again – a blend of 70s fusion, bassy funk, and even tighter riffing – all put together with a greater depth and sense of soul than most other records of its type. Blackman's a GRP contemporary of Bernard Wright, Tom Browne, and Weldon Irvine – and there's bits of all their sound in the work here, but somehow Don does it even better – hitting these grooves, notes, and lines that seem to fall from the heavens – and which still stand as some of the hippest music of his generation. A record to file proudly next to your copies of Ramp and James Mason – and like those gems, the kind of record that only happens once in an artists career! Titles include "You Ain't Hip", "Yabba Dabba Do", "Heart's Desire", "Deaf Hook Up Connection", "Never Miss A Thing", and "Holding You Loving You", and "Since You Been Away So Long". CD

An 80s classic from guitarist Hiram Bullock – a fusion set with a lot more smooth edges than the gritty surface of Hiram's well-played guitar on the cover! The set's quite polished, but still pretty great – never too overdone, and still based mostly around instrumentation by a core combo on most tunes. Hiram plays guitars, both electric and acoustic, as well as keyboards – and also sings a bit on about half the tracks in the set. Other players include Will Lee on bass, Kenny Kirkland and Cliff Carter on keyboards, and Charley Drayton on drums – and titles include "Funk Broadway", "Say Goodnight Gracie", "Until I Do", "Window Shoppin", "Really Wish I Could Love You", and "Mad Dog Daze". LP, Vinyl record album

One of Gary Burton's more free-flowing albums of the 70s – a bit more fusion than some of his other work of the time, with key guitar contributions from Mick Goodrick and a young Pat Metheney! The album's still filled with plenty of Burton's great work on vibes, but the guitars also soar out strongly too – bringing in a sense of pulse that's matched by the basses of Steve Swallow and Eberhard Weber, and percussion by Bob Moses. The groove's still a bit softer-edged than traditional fusion sides of the time – thanks to a mellower ECM approach – but there's also a bit more dynamic energy on some of the tracks than you might be used to hearing from the label. Titles include "Silent Spring", "The Colours Of Chloe", "Intrude", "Unfinished Symphony", "Tunnel Of Love", and "Mevlevia". LP, Vinyl record album

Sweet electric funk from trumpeter Donald Byrd – one of his first forays into an electric mode, and done in a style that's very different than his better-known soul fusion of the mid 70s! Before Byrd hooked up with Larry Mizell and started recording his smooth fusion grooves on records like Blackbyrd and Street Lady – he recorded this gem, kind of a "lost" album that has Donald working in an open-ended electric sound – one that's clearly inspired by the experiments of Miles Davis, but which has a generally funkier feel overall! The tracks are very long – with lots of spiraling keyboard and trumpet solos – and the hip players on the set include Bobby Hutcherson on vibes, David T Walker on guitar, Harold Land on tenor, and Joe Sample on organ – a very cool combo that's got a cross between The Crusaders and the Hutcherson/Land quintet! We love the tracks on this set – especially "The Emperor" and "The Little Rasti", which are both over 15 minutes long, and have a haunting spacey sound that's a departure from Donald's usual work! LP, Vinyl record album

Sharp Brazilian fusion – with Rique Pantoja on keyboards, Mauro Senise on saxes, and Pascoal Meirelles on drums! LP, Vinyl record album

Brilliant brown-eyed soul from Ray Camacho – an artist who was previously known for more border-styled work with his Teardrops band, but who steps out here with a surprisingly great blend of electric jazz and boogie! The approach is wonderful – a real re-direction of Ray's earlier groove into even more soulful territory – handled with that unique fusion that was happening in just a few of the best Texas spots, like the scene in Austin at the time. The album's equal parts soul and funk, but still has a few Latin roots too – and had this gem come out on Fantasy Records at the time, it would have pushed Ray and group into much headier territory. But we're also happy the set's been undiscovered for so many years (consider it our little secret) – and titles include "Reach Out", "Diggin Deep", "Shake What You Got", "Nobody But You", "Nothing But A Party", and "What A Day". CD

One of the grooviest albums we've ever heard from Erlon Chaves – a Brazilian arranger who got his start in the bossa generation, later did some more traditional music – but here explodes with this great fusion of European and Brazilian soundtrack styles! The record's credited to the Orquesta St Moritz – most likely a studio group with a European name, for good pedigree – but there's a huge amount of sounds here that rival some of the best modes coming from the EMI/Odeon label at the start of the 70s – particularly the mix of samba and bossa elements with larger funky arrangements, then given a more sophisticated twist – as you'd find in the music of Marcos Valle! Most of these tunes are instrumental, and there's some really wonderful organ work on a number of the titles – on tracks that include "Procura Se Uma Virgem", "Grilo", "Uma Velha Bossa", "Ba Oba Oba", "Vamos Nos", "O Anjo E O Diabo", and "Tema De Amor". LP, Vinyl record album

A really back to basics album from trumpeter Don Cherry – or maybe a set that goes back to basics that Don didn't even have, given that most folks initially heard him in the freewheeling group of Ornette Coleman! The album's straighter than his work with Ornette, and also different than his 70s experiments with world cultures and fusion – as the record has a tight, acoustic vibe – Cherry blowing these great solos on pocket trumpet, in the company of a swinging lineup that also features James Clay on tenor, Charlie Haden on bass, and Billy Higgins on drums! The lack of piano is definitely a nod to Don's roots, and there's certainly an open vibe to the record at times – but things are mostly straight and swinging, in a way that opens up another level in Cherry's long and varied career. Titles include "Art Deco", 'When Will The Blues Leave", "Body & Soul", "Bemsha Swing", "Maffy", "Folk Medley", "The Blessing", "Passing", "I've Grown Accustomed To Your Face", and "Compute". CD

A really back to basics album from trumpeter Don Cherry – or maybe a set that goes back to basics that Don didn't even have, given that most folks initially heard him in the freewheeling group of Ornette Coleman! The album's straighter than his work with Ornette, and also different than his 70s experiments with world cultures and fusion – as the record has a tight, acoustic vibe – Cherry blowing these great solos on pocket trumpet, in the company of a swinging lineup that also features James Clay on tenor, Charlie Haden on bass, and Billy Higgins on drums! The lack of piano is definitely a nod to Don's roots, and there's certainly an open vibe to the record at times – but things are mostly straight and swinging, in a way that opens up another level in Cherry's long and varied career. Titles include "Art Deco", 'When Will The Blues Leave", "Body & Soul", "Bemsha Swing", "Maffy", "Folk Medley", "The Blessing", "Passing", "I've Grown Accustomed To Your Face", and "Compute". LP, Vinyl record album

A massive hit for Stanley Clarke – a record that has him reigning in some of his wilder elements a bit, and going for a groove that's right in the pocket! There's a definite soul fusion influence going on here – Clarke trying to hit the same groove as some of his contemporaries, and doing a pretty good job of it in the process. Still, the album's never as polished as efforts like this on Blue Note or Elektra – just a bit more focused than before, but in a really good way. David Sancious and Chick Corea both play keyboards on the set – and tracks include "School Days", "Hot Fun", "Desert Song", "The Dancer", and "Quiet Afternoon". LP, Vinyl record album

A masterful album from Billy Cobham – and maybe the best 70s record to really demonstrate the unique place he found for himself in 70s fusion! The album soars with a sound that really lives up to its cover image – but it's also not the heavy-jamming affair of some of Billy's more rockish records from the time. Instead, it's got this wonderful blend of deeper elements that really come together wonderfully – and some very strong use of reeds from Michael Brecker, trumpet from Randy Brecker, and trombone from the great Garnett Brown – all players who give the album a very rich, soulful voice. The set includes the famous sample track "Heather", a mellow cut with great electric keyboard work by George Duke – and other titles include "Crosswind", "The Pleasant Pheasant", and "Spanish Moss – A Sound Portrait". LP, Vinyl record album

Heavy-jamming fusion from Billy Cobham – done at a time when he was already cutting plenty of heavy-jamming fusion! The album was recorded live in Switzerland and London – all very much in a post Bitches Brew approach to jazz that has all players going pedal to the metal in pursuit of their ends – thankfully working together well here, and really propelled into the cosmos by Billy's mighty work on the drums! Players include John Abercrombie, Michael Brecker, Randy Brecker, and Milcho Leviv – and the tracks are all long, with titles that include "Red Baron (Revisited)", "Tenth Pinn", "Shabazz", and "Tauranian Matador (revisited)". LP, Vinyl record album

A monstrous bit of jazzy fusion from the 70s – and the record that really put drummer Billy Cobham on the map – virtually creating his own sort of space between jazz, funk, and prog – thanks to the help of an all star lineup too! Cobham is tremendous on drums – and is joined on most of the record by guitarist Tommy Bolin and keyboardist Jan Hammer – both at the height of their early powers – and a few other tracks feature a slightly different lineup, with great work from saxophonist Joe Farrell and trumpeter Jimmy Owens! The drummer is definitely in the space of the territory he would explore with George Duke – but is also maybe looser and more open to new sounds too – really stepping out on cuts that include the slow mellow funk number "Red Baron", which has great breaks and nice electric piano – plus "Stratus", "Taurian Matador", "To The Women In My Life", and "Quadrant 4". LP, Vinyl record album

A live bit of fusion supergroup jamming – one in which Billy Cobham and George Duke are joined by Alphonso Johnson and John Scofield in a set of really soulful numbers! The main focus here is straight fusion jamming, but there's also a nice undercurrent of funk and soul in the set as well – and Jon Lucien makes an appearance on the track "Almustafa The Beloved" – a great number with a break sampled by Peanut Butter Wolf! George Duke indulges himself a touch on "Space Lady", a spare electric keys number with a lengthy spoken intro – and other titles include "Do What Cha Wanna", "Frankenstein Goes To The Disco", "Hip Pockets", "Ivory Tattoo", "Sweet Wine", and "Juicy". LP, Vinyl record album

Brilliant later work from Ornette Coleman – quite adventurous stuff, too! By the late 80s, the shock of the new of Ornette's harmolodic sound had worn off enough that majors like CBS/Portrait were more than willing to invest in it – but for every catchy modern groove here, there's a left turn into more subtly daring territory! A few tracks feature Jerry Garcia – "3 Wishes", "Singing In The Shower", and "Desert Player" – and his jazz-folk-psych improv guitar style is a pretty wild match for Ornette and Prime Time. We didn't give those cuts nearly enough credit to over the years! The Garcia-less tracks show Ornette's awareness of hip hop and funky fusion, but he doesn't cop to trends. It's more that he's showing his continuing relevance in the 80s landscape. The group features Denard Coleman on percussion and keys, Calvin Weston on drums, Al MacDowell and Chris Walker on bass, Bern Nix and Charlee Ellerbe on guitars, and Ornette on alto, trumpet and violin. Other tunes include "Happy Hour", "Bourgeois Boogie", and "Spelling The Alphabet". CD

Very expressive work from Chick Corea – a solo set from the 90s, and a great reminder of his acoustic talents on the piano! Although Chick's a player you might normally associate with electric riffs and freewheeling fusion, he's also a very sensitive stylist when he wants to be – as you'll hear on the album's beautiful versions of familiar standards – played by Corea in ways that really open the tunes up, and in surprisingly short amount of time. It's almost as if Chick's brought all the open-ended modes he learned from the fusion years back to traditional jazz piano – making them work beautifully, all without any tricks or gimmicks. Titles include "Monk's Mood", "My Ship", "Lush Life", "Armando's Rhumba", "Stella By Starlight", and "This Nearly Was Mine". CD

The second album by Cortex – the obscure French jazz group that's been a favorite of funky collectors for years! The group's got a strong fusion-driven groove on this set – with plenty of tight drumming, hard riffing, and spacey keyboards that give the tunes a nicely soulful finish. The best tracks are actually the mellower ones, which have a nice use of space and sound – creating strong little patterns of groove that stand out from the rest of the tracks. Lots of work on Fender Rhodes, mini korg, Hammond, and clavinette – and titles include "Poxa", "Datura", "Regina", "Mister J", "Efficace Swing", "Oh Lord", and "Devil's Dance". LP, Vinyl record album

A legendary bit of funky fusion from the French scene of the 70s – the standout set from Cortex, a combo who's very heavy on the keyboards! The tunes have a feel that's quite different than American electric work of the time – funky, but also a bit breezy too – with a strong Brazilian influence in some of the rhythms, and hip use of female vocals alongside the Fender Rhodes – which makes for a double layer of sound that's totally great! There's a bit of alto sax in the instrumentation, but most of the sound comes from the interplay between keyboards, voice, bass, and drums – rolling along in a sound that's stunningly soulful, and which makes the record one of the hippest European dates from the decade. Tremendous all the way through – with tracks that include "Automne", "L'Enfant Samba", "La Rue", "Go Round", "Madbass", "Sabbat", "Mary Et Jeff", and "Chanson D'Un Jour D'Hiver". LP, Vinyl record album

Fantastic fusion from 70s Spain – a set that's maybe equal part jazz and rock – although very different than some of the more jamming prog of the time! Instead, these guys have a great sense of space – so that the guitar of Napi Carratala is used judiciously, and really gives way to these well-crafted solos on alto and tenor from Alain Fabrizio – a player who could easily fit into a more spiritual jazz-styled lineup, but who here adds just the right dose of soulfulness to a record that might have been a lot more cold without his performance! Other players include Pedro Barcelo on drums and Chiqui Navarret on bass – and titles include "Viaje A Prantia", "El Baron De Finestrat", "Tijal", "Cuando El Coco Se Viste De Gris", and "El Caminito Que No Mola". CD

One of the great lost groups of the UK scene of the 60s – not lost to UK audiences, or to hipsters over the generations – but still an act that never made the impact on these shores that they should! The Creation are step in step right up there with early material by The Who or Small Faces – and share a similar groundbreaking re-fusion of American roots into a new London groove – all with searing guitars, clever wordplay, and a cutting-edge spirit that may well have kept them off our charts – but which makes them so great to discover all these many years later. You might have caught a few of their songs over the years – thanks to soundtrack placement from directors like Wes Anderson, or covers by many of their bigger fans. This 2CD set features 46 tracks in all, with remastering overseen by original producer Shel Talmy – and the set includes early sides by The Mark Four, some alternate takes, and even new mixes – plus an 80 page hardcover book with scores of photos, other images, session and discographical details, and a new essay too. CD

One of the few cases in jazz where an oft-played classic still resonates with power! The record itself is a key cap to Miles Davis' already-groundbreaking years of the 60s – a bold step forward, not just for his nascent electric sound, but also for jazz in general – and the benchmark by which so many other records would be judged (and fail) in years to come! The double-length set makes full use of all four sides of the record – expanding the flow (as well as the lineup) of the original Davis modal vision – and using all players to amazing effect, so much so that most players here turn out some of their best recorded work ever! The lineup is virtually a whose who for the sound of fusion in the 70s – including Wayne Shorter on soprano sax, Bennie Maupin on bass clarinet, Joe Zawinul and Chick Corea on keyboards, John McLaughlin on guitar, Dave Holland on bass, and Lenny White and Jack DeJohnette on drums – plus Jumma Santos and Don Alias on added percussion. Titles include "Pharaoh's Dance", "Spanish Key", "Sanctuary", "Bitches Brew", "John McLaughlin", and "Miles Runs the Voodoo Down". CD

One of the few cases in jazz where an oft-played classic still resonates with power! The record itself is a key cap to Miles Davis' already-groundbreaking years of the 60s – a bold step forward, not just for his nascent electric sound, but also for jazz in general – and the benchmark by which so many other records would be judged (and fail) in years to come! The double-length set makes full use of all four sides of the record – expanding the flow (as well as the lineup) of the original Davis modal vision – and using all players to amazing effect, so much so that most players here turn out some of their best recorded work ever! The lineup is virtually a whose who for the sound of fusion in the 70s – including Wayne Shorter on soprano sax, Bennie Maupin on bass clarinet, Joe Zawinul and Chick Corea on keyboards, John McLaughlin on guitar, Dave Holland on bass, and Lenny White and Jack DeJohnette on drums – plus Jumma Santos and Don Alias on added percussion. Titles include "Pharaoh's Dance", "Spanish Key", "Sanctuary", "Bitches Brew", "John McLaughlin", and "Miles Runs the Voodoo Down". LP, Vinyl record album

One of the few cases in jazz where an oft-played classic still resonates with power! The record itself is a key cap to Miles Davis' already-groundbreaking years of the 60s – a bold step forward, not just for his nascent electric sound, but also for jazz in general – and the benchmark by which so many other records would be judged (and fail) in years to come! The double-length set makes full use of all four sides of the record – expanding the flow (as well as the lineup) of the original Davis modal vision – and using all players to amazing effect, so much so that most players here turn out some of their best recorded work ever! The lineup is virtually a whose who for the sound of fusion in the 70s – including Wayne Shorter on soprano sax, Bennie Maupin on bass clarinet, Joe Zawinul and Chick Corea on keyboards, John McLaughlin on guitar, Dave Holland on bass, and Lenny White and Jack DeJohnette on drums – plus Jumma Santos and Don Alias on added percussion. Titles include "Pharaoh's Dance", "Spanish Key", "Sanctuary", "Bitches Brew", "John McLaughlin", and "Miles Runs the Voodoo Down". CD features one bonus track – "Feio" – nearly 12 more minutes of electric goodness! CD

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

The decoy here might be in the rhythms, which are often electric, but still played live – handled by Robert Irving III on many tracks, with a cool 80s fusion sound that's mighty nice! The style of the album's a nice change from the Miles groove of the 70s – a bit leaner, with almost a Weather Report influence at times, but far less jamming – and still prone to the darker tones that always make Davis' music of these later years surprisingly good. Al Foster handles acoustic drums on some tracks, and other players include Bill Evans on soprano sax and Mino Cinelu on percussion – on titles that include "Decoy", "Robot 415", "Code MD", "Freaky Deaky", "What It Is", "That's Right", and "That's What Happened". LP, Vinyl record album

Sweet funky fusion from one of the hippest drummers of the 70s – the mighty Les DeMerle, a player who's given the world plenty of samples over the years! The grooves on the set are some of Les' best – tightly snapping in a warm mix of electric and acoustic playing – with tight bass work that matches Les' drums perfectly, and lots of snaking horn solos from the great Don Menza. Josh Hanna sings on a few cuts, giving the record a more soulful feel than any of Les' other albums – and the whole thing's smoking at a level that really almost surpasses the best of DeMerle's studio work. Titles include "San Quenti Quail", "Freedom Jazz Dance", "Sambandrea Swing", "Quetzal", "Ambidextrous", and "Island Winds". LP, Vinyl record album

An excellent album of funky drumbreaks – cut by a drummer who's a legend among funk fans, but who hardly ever gets mentioned in history books of jazz! Les DeMerle was a lesser-known LA player, and he had a monster approach to the kit – which is why most of the few albums he cut are very in demand for fans of a good funky drum break, as well as the longer grooves! This one's a stellar session that mixes together straight funk with some strong choppy fusion numbers – and it was issued on the tiny Dobre label, which came out with some excellent obscure sides during the 70s. Raul De Souza's on trombone, Milcho Leview plays piano, and Robby Robinson plays plenty of nice electric keyboards. Includes the break-heavy tracks "Moondial" and "Funk It!", the jazz dance cut "Canned Heat Suite", the choppy funky "Bacchanal", and the great groover "Kaballa". LP, Vinyl record album

A pair of early 80s gems from this Brazilian keyboard legend – back to back on a single CD! Night Cruiser is a key record in Deodato's move from funky jazz in the 70s to modern soul in the 80s – and one that showcases the best of his talents in both genres! The approach here is more tightly arranged and produced than that of his earlier CTI sides – but in a mode that's still plenty nice to our ears – as Deodato's uncanny sense of rhythm and timing is still very firmly in place, making the set way way more than just a smooth jazz album – and pushing it strongly into the realm of soulful spacey fusion! There's some really great tracks on the set – like the amazing "Skatin", a sweet keyboard number that's a perfect roller skating jam (in case you couldn't guess from the title) – plus "Love Magic", "Uncle Funk", "East Side Strut", and "Night Cruiser". Happy Hour is a classic from Deodato's soul-based years with a nice little R&B-inspired groove! Happy Hour was done at a time when Deodato was really getting into a lot of modern soul production and arranging work with other groups – and here, he tries his hand wonderfully at the style himself – transforming his 70s jazz funk groove into a tightly snapping 80s soul approach! Most tracks on the set feature vocals – by singers who include Kelly Barretto, Eban Kelly, and Candi Staton – but the instrumentation behind them is still plenty jazzy too, thanks to some nice work by Deodato on Fender Rhodes, mini moog, Arp, and other keyboards. Titles include "I Never Get Enough", "Keep On Movin", "Happy Hour", "Just This One Night", "Tears Of A Clown", "Sweet Magic", and "Keep It In The Family". CD features two bonus tracks – "Uncle Funk (7" mix)" and "Keep On Movin (7" mix)". CD

Yeah Yeah Yeah Yeah, Y- Y- Y- Y- Y- Y- Y-eah, this is one of best art rock albums of all time – the Eno produced full length debut of Devo – the caustic, sarcastic and fun soundtrack to society's devolution! There's nothing we don't love about Devo at this point, from their unprecedented use of multimedia, to the hard to pull off fusion of sneering social and pop culture satire with good humored fun, and that's just the conceptual stuff. The songs are original and inimitably great, too, with those squeeling synth punk dynamics. Tracks include (I Can't Get No) Satisfaction" (best rock cover ever?) "Jocko Homo", "Mongoloid", "Uncontrollable Urge", "Space Junk", "Come Back Jonee", "Sloppy (I Saw My Baby Gettin')" and more. LP, Vinyl record album

A real 70s standout from guitarist Al Di Meola – and that's saying a lot, given the strength of most of his albums from the decade! The record's one that broke Al's talents out to so many different groups – yet never in a way that waters down his sound, nor dims his genius for a solo. Al plays a host of guitars – electric, and both six and 12 string acoustic – the latter of which are especially beautiful, and handled in a balance between European virtuoso modes, and some of the more rhythmic elements of the American fusion scene. Speaking of fusion, the other players on the date really help set the tone – Chick Corea on keyboards and piano, Barry Miles on Fender Rhodes and mini-moog, Stanley Clarke on bass, and both Steve Gadd and Lenny White on drums – each setting a different pace when they appear. Titles include "The Wizard", "Suite Golden Dawn", "Short Tales Of The Black Forest", and "Land Of The Midnight Sun". LP, Vinyl record album

A fantastic set from the young tenorist Klaus Doldinger – hardly jazz made in Germany, as the whole thing has a smoking soul jazz quality to rival the best on Prestige Records at the time! Klaus plays tenor throughout – in a fantastic combo that features Hammond organ from the great Ingfried Hoffman, and drums from Klaus Weiss – who'd later go onto great fame in funk and fusion. Titles include "Signal", "Solar", "Blues For George", and "Bluesy Toosy". LP, Vinyl record album

A set that pays tribute to the glory days of European sound library music, and which is particularly heavy on modes from the early 80s – that point when library funk was stripped down a lot more from the fuller bands of the previous decade, and relied heavily on beats and keyboards! There's plenty of both here – and the tune are all instrumental, and have enough vibrancy to also allow room for solos from time to time – partly jazz, but mostly cinematic, and with a warmth that also shows a bit of an influence from fusion! Titles include "Skipass", "Voxon", "Studio 70", "Synthporn", "Blitz", "Redemption", and "Killing". LP, Vinyl record album

Quite a soul-based set from the great George Duke – a set that not only features his strong keyboards, but also a fair bit of vocals from singers Phil Perry, Jeffery Osborne, and James Ingram – all of whom are a great fit for Duke's evolving sound! Duke had worked heavily with singers on many other albums – and even produced for some of these artists as well – but the vibe here is also more of an extension into 90s modes, both for fusion and R&B – with a few lingering traces of his 80s work, but also a leaner style at times that's nicely appreciated. Titles include "Love Ballad", "Children Of The Night", "Miss Wiggle", "Brazilian Coffee", "This Lovin", "Mystery Eyes", and "Same Ole Love". This Japanese CD edition includes 3 bonus tracks: "560 SL", "Fuzzzion" and "Rise Up". CD

Two Capitol classics from the great Gene Dunlap – back to back on a single CD! First up is It's Just The Way I Feel – a classic soulful fusion album recorded and released during the crucial years of the "Capitol Rare" sound! Gene Dunlap is a jazz drummer at heart – but he's got a flair for the modern soul song – and in the same style as Norman Connors or Harvey Mason before him, he manages to put together a strong record of grooves and ballads from behind the kit! The strongest point of the record is work by The Ridgeways, a female soul trio who sing on the best tracks, giving them a smooth Jones Girls-ish kind of sound. The album includes two modern soul classics – "Before You Break My Heart" and "It's Just the Way I Feel" – plus "Love Dancin", "Rock Radio", "I Got You", and "Surest Things Can Change". Party In Me is wonderful work from Gene Dunlap – a jazzy soul drummer, and also a maestro with a killer ear for a modern soul groove! The album's got a mix of grooves and sophistication that are a bit like the best early 80s material from Roy Ayers – never chartbound, and never too commercial – but nice and tight, and really well put together! The instrumentation has plenty of jazzy 80s groove touches – especially in the keyboards – and Dunlap does a nice job of balancing up beat tracks with the mellow moments we love so much in his work. Vocals are from a variety of singers – including the great Ethel Beatty, who'd sung with Roy Ayers – plus Phillippe Wynne, Pam Lawson, and Gene himself – and titles include "Something Inside My Head", "Something Special", "Corner Pocket", "There Will Never Be Another (Like You)", "Party In Me", "Jam City", and "This One's On Me". 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

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". LP, Vinyl record album

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

One of the few albums we've ever seen by keyboardist Hubert Eaves – a great player whose work crops up on some of our favorite 70s soul jazz and jazz funk sides, but who rarely got a chance to lead his own group! Fortunately, he did get the chance to cut this one – as the session's a real doozy – sweet mellow fusion, handled very soulfully, with a kicked-back feel that's right up there with the most righteous soulful fusion of the time. Players include Mtume, John Lee, Reggie Lucas, Malachi Thompson, and Rene McLean – and Cheryl Alexander sings vocals on the track "Under Standing". A great blend of laidback funk and soulful grooves – in the manner of Bobby Lyle at his best – and titles include "Slow Down", "Painful Pleasure", "Call To Awareness", and "Flead Dancing". CD

Great early work from Eliane Elias – Brazilian-influenced rhythms, warm piano lines, and a surprising undercurrent of soul! The set features Eliane strongly out front on acoustic piano – working with some elements of other American jazz at the time – kind of that post-fusion sense of soul that came from the electric years of other players, brought back into the acoustic keyboard as the 80s scene moved on. But Elias also brings in some of her best Brazilian elements too – really just in the way the keyboard lines come together with a sense of joy and life – and other players include Stanley Clarke and Eddie Gomez on bass, Al Foster and Steve Gadd on drums, and Toots Thielemans on a bit of guest harmonica. Titles include "Illusions", "Moments", "Iberia", "Chan's Song", "Through The Fire", and "Choro". CD

A great bit of soulful fusion from drummer Peter Erskine – one of the few albums he made as a leader of this nature, even though his playing graced lots of other wonderful records at the time! The approach here is tight, but never too much so – smooth, but never slick – a warmly electric groove that's really a lot more in a mid-70s sort of style than you'd expect from the early 80s date of the album. Other players here are all well-suited for the set – and include Randy Brecker on trumpet, Michael Brecker on tenor, Bob Mintzer on tenor, Don Grolnick on electric piano, Eddie Gomez on bass, Don Alias on percussion, and Mike Mainieri on vibes – and titles include "Leroy Street", "In Statu Nascendi", "All's Well That Ends", "My Ship", and "ESP". CD

Some of the finest Peruvian grooves of the 60s and 70s – served up by three different groups headed by reedman Nilo Espinosa, plus a few other combos as well! Nilo's got a way with a groove that's totally unique – a bit soul jazz a times, influenced by bossa at others, and sometimes even moving into sweet electric fusion – always with a very pronounced sense of rhythm that makes nearly all of his numbers into the kind of groovers that can easily traverse the globe far from their roots in the Peruvian scene! The package features work from the mid 60s Los Hilton's, the early 70s Bossa 70, and the mid 70s Nil's Jazz Ensemble – the last of whom have been favorites for years with crate-diggers, due to their use of electric keyboards and very tasty drums! Titles include "Here Come The Hilton's" and "Sherezade" by Los Hilton's; "El Gato", "Think", "Get Out Of My Way", and "Las Mariopsas" by Bossa 70; "Reflexiones", "Summer Love", "Hard Work", "Looking For A Blues", and "Somos Nada" by Nil's Jazz Ensemble; "El Bueno El Feo Y El Malo" by Nilo Espinosa Con Los 007; "Light My Fire" by Charlie Guerrero; "Gotas De Miel" by Nilo Espinosa Y Orquesta; and "People Got To Be Free" by Charlie & Many. CD

A really wonderful project that was years in the making – a mix of American club and Brazilian elements – put together by a group that includes members of Azymuth and Banda Black Rio, as well as the legendary Arthur Verocai! Jose Roberto Bertrami's the strongest contributor here – and the music really echoes that great late 70s/early 80s point when the Azymuth fusion groove crossed over into tighter, funkier territory – coming off here with a sound that's got really universal appeal and a wickedly classic vibe overall – like some unusual cross-breeding of Brazilian grooves and Salsoul Records! Vocals are by Mia Mendes and Marcina Arnold, but the instrumentation is even better than the lyrics – filled with jazzy touches, blended with bits of strings, and perfectly produced all the way through. Really tremendous stuff – one of the freshest records we've heard from Far Out in years – with titles that include "Mystery", "Keep Believing", "Dead Dance", "The Last Carnival", "A Disco Supreme", "Vendetta", and "Don't Cha Know He's Alright". 2CD set features 8 more bonus remix tracks too! CD

An overlooked fusion set from the mighty Muse Records – an early 80s date recorded under the leadership of keyboardist Mitch Farber, and featuring work from Randy Brecker on trumpet, Gary Campbell on tenor and soprano, and Steve Khan on guitar! Given the players, there's almost a major label fusion feel to the set, although the overall sound is more open and laidback – not slick at all, and a nice reminder that in the farther corners of jazz in the early 80s, fusion didn't always have to be focused on commercial hits. Rhythm is from Mark Egan on bass, Danny Gottlieb on drums, and Sammy Figuera on percussion – and titles include "Monuments", "Sky Dance", "The Chooser", "Lonely Promises", and "Starclimber". CD also features the bonus track "Theme From Travels" – recorded in 1990. LP, Vinyl record album

A spacey soul classic – with a sound that never gets old! Faze-O will be forever remembered for their massive cut "Riding High", the leadoff on this album – a stretched out slow funk jam that has amazing keyboards, floating guitars, and a super-dope groove that's stayed fresh from the moment it was first set to wax back in 1977! This album's the group's first, and best – and it's a really wonderful record that blends together funky fusion and heavy soul – filled with killer cuts arranged by the Ohio Players, and with lots of great keyboards by the group! Includes, of course, the massive cut "Riding High" – plus "Toe Jam" and "Funky Reputation"! CD

A pair of albums from saxophonist Wilton Felder – back to back on a single CD! We All Have A Star offers up solo sounds from Crusaders reedman Wilton Felder – a really great set that's very much in the best vibe of his larger group at the time – yet one that also offers up a stronger focus on Wilton's sublime solo work on tenor! The album's got plenty of Crusaders help on board – given that Stix Hooper and Joe Sample produced the set along with Wilton – and the vibe's a wonderful blend of electric backings, with especially great keyboard lines, and Felder's well-phrased saxophone lines over the top! A few cuts feature vocals – sung by Angela Bryant or Debbie Demoia Ross – and titles include "We All Have A Star", "I Know Who I Am", "The Cycles Of Time", "Why Believe", "Ride On", and "You & Me & Ecstasy". Inherit The Wind is one of the best Crusaders-related solo projects – a soulful bit of fusion from saxophonist Wilton Felder, co-produced with his fellow Crusaders! The album's got the best sunny finish of the group's late 70s albums – traces of Latin, funk, and soul bubbling through a warm jazzy mix – staying soulful all the way through, and coming up with a sound that's smooth, but never sleepy. The blueprint for a million other records – none of which ever sounded this good! Titles include "Insight", "LA Light", "Until The Morning Comes", "Someday We'll All Be Free", and "Inherit The Wind". CD