Four fantastic albums from Bobby Bland – all brought together in a single package for the first time! First up is Come Fly With Me – great work from Bobby Blue Bland – one of the few artists to rise up at the end of the 50s, and still find a way to chart their own path forward in soul with fresh material like this! Bobby's voice is still incredible here, and he works with production from Al Bell and Monk Higgins, the latter of whom arranged – in this cool style that's a bit like some of the territory that Tyrone Davis was taking on at Columbia Records during the second half of the 70s – fuller arrangements that bring some sophisticated soul touches to the music, but in ways that never lose the core of Bobby's genius! Titles include "Lady Lonely", "Night Games", "You Can Count On Me", "Love To See You Smile", "Come Fly With Me", and "To Be Friends". The next album is I Feel Good I Feel Fine – and Bobby Bland sounds pretty good too – thanks to arrangements from the great Monk Higgins, who does a perfect job of mixing Bland's trademark vocals with some sweet late 70s arrangements! The sound is upbeat, but never in a cliched disco mode – more in the territory that you'd hear Johnnie Taylor using over at Columbia Records – maybe a good comparison, given the Memphis roots that both artists shared – as both also evolved a lot to shift their sound with the changing modes of the time. And as with Johnnie, Bobby never loses the core that makes him great – as you'll hear on titles that include "Tit For Tat", "Soon As The Weather Breaks", "In His Eyes", "Someone To Belong To", "I Feel Good I Feel Fine", and "Little Mama". Sweet Vibrations is a real gem from the start of the 80s – arranged by Monk Higgins, who co-produced the set with Al Bell – a duo who'd already given Bobby some great records before, but who really knock it out of the park with this one. There's an extra-special quality going on here – maybe a slight reintroduction of blues roots, but still with a very contemporary spirit – set up to superb backings throughout. Titles include "Soul With A Flavor", "Hollywood Woman", "You'd Be A Millionaire", "Sweet Vibrator", "Special Kind Of Fool", and "A Real Woman Is What It Takes". Try Me I'm Real is record with a title that certainly fits the bill – as the amazing voice of Bobby Bland is as real here as it ever was, and blended with superbly soulful backings that take the singer's sound forward for a whole new generation! Some of Bobby's contemporaries were content to just stick in a straight blues mode – but Bland really grew and developed a lot as an artist, thanks in part to Monk Higgins and Al Bell – who are both at the production helm of the record, and balance the bluesy roots of Bobby with some richer soul backings that really knock the whole thing out of the park! We love Bobby Blue Bland during his early Duke Records years – but we love him equally as much for music like this, on titles that include "But I Do", "What A Difference A Day Makes", "Givin Up The Streets For Love", "A Song For You My Son", "Just You Just Me", and "Love Is Where It's At". CD

An incredible record from Bobby Blue Bland – and quite possibly the greatest one he ever made! The set's got an amazing something special that's unlike most other material of the time – a bit blues, but a lot of soul too – still with some echoes of R&B in the jazzier charts used for the backdrop, but presented with a rock-solid style that definitely points the way towards many sounds and styles to come in the 60s. And although Bland recorded many of these tracks as separate singles, there's a way they're put together here that makes the whole thing sound completely marvelous together – a really well-conceived track list that shows that Bobby's an even greater artist in the space of a full record. The arrangements are perfect, and Bobby's rough soulful voice is blended in this amazing way with killer horn arrangements that are far more sophisticated than most stuff that ever came after this, and which never get in the way, but only back up his deep emotion. The album's a motherlode of classics by the man, with gems that include "Two Steps From The Blues", "Cry Cry Cry", "I Don't Want No Woman", "I'm Not Ashamed", "Don't Cry No More", "Lead Me On", and "I Pity The Fool". And hell, even his version of "St James Infirmary" is pretty wonderful – something we never thought we'd say about that song. CD

Killer work from this funky Finnish combo – a group who celebrate a strong decade in music with this really wonderful set! The Blassics bring in all the right sort of influences from African funk of years back, especially Ethiopian music – and they spin out tracks that are often nice and long, and which feature some tremendous jazzy solos from the horn section – players stepping out from the ensemble for individual expressions, and not just vamping with the rhythms! The rest of the instrumentation is great too – well-crafted, and shaded with all sorts of tones that really deepen the music in personal ways, and don't just echo styles of the past. Titles include "Afrohustler", "Special Occasion", "Ruff Strut", "West Side Glory", "Swazi Funk", "Yeketema Set", and "Hagerun Geleba". CD

Early work from pianist Paul Bley – material that really shows his commitment to the songwriting strengths of the great Annette Peacock! The first two thirds of the set features European material recorded in Rome and Baarn in 1966 – Bley working alongside bassist Mark Levinson and drummer Barry Altschul, both of whom had joined Paul on the groundbreaking Blood album – and who work here in similar territory, but on shorter tracks that are still relatively free and open overall! The tracks represent key recordings of songs that Bley would rework later on – titles that include "Blood", "Touching", "Nothing Ever Was Anyway", "Kid Dynamite", "Mister Joy", "Albert's Love Theme", and "El Cordobes". The last third of the record features material from 1968, recorded in Seattle with a trio that features Gary Peacock on bass and Billy Elgart on drums – revisiting some of the same material, but with a very different vibe – on tracks that include "Mister Joy", "Touching", "Kid Dynamite", "El Cordobes", "Blood", and "Nothing Ever Was Anyway". CD

A survey of The Music Scene through the eyes, mind and fingers of longstanding hip hop and spacey beatcraft guru Blockhead! Blockhead's way with a sample has been one of the reasons we've been on board so long, and it's as unpretentiously hypnotic as ever here – staying defiantly headnodding in a groove – while subtly innovating and floating in myriad stylistic variations without hitting you over the head with them. Solid stuff. Titles include "It's Raining Clouds", "The Music Scene", "Only Sequences Change", "Which One Of You Jerks Drank My Arnold Palmer?", "Attack The Doctor", "The Prettiest Sea Slug", "The Daily Routine", "Pity Party", "Farewell Spaceman" and more. CD

The cover looks all sort of soft and dreamy, but the record has a bite from the very first second – beginning with an old school news report about gang violence in LA, then serving up a gritty set of rhymes from Blu that really live up to the glory days of west coast hardcore hip hop! Shafiq Husayn serves up production that really fits the mode well – some of the heavy, hard elements that would have fit such modes years back – but with more sonic complexity that reflects all the production advancements of the past 20 years. We're not entirely sure if the album's supposed to be a commentary on older gangsta modes, or just fully embraces them – but in either case, the whole thing's a hell of a ride – with cuts that include "Red White & Me", "The Joy", "We Bang", "LA Summer", "In Living Color", "CA All Day", "Out Of The Blue", "Roll Up", "West Coast", and "We Originals". CD

Four lost albums from David Blue – a really compelling singer/songwriter, ripe for rediscovery! First up is These 23 Days In September, recorded for Reprise – a really moody little record from David Blue – a folksy singer who's got a style that definitely lives up to the melancholy promise of his name! Blue's definitely an artist with a difference – working in the familiar mode of vocals and acoustic guitar, but with an edge and distinctness that really sets him apart from the folkies of a few year before – that sense of different that really set apart a new wave of contemporaries, like Leonard Cohen, Fred Neill, or Tom Rapp. Titles include "These 23 Days In September", "The Sailor's Lament", "Scales For A Window Thief", "You Will Come Back Again", "Slow & Easy", and "The Grand Hotel". Stories is an overlooked early set on Asylum – the kind of really special singer/songwriter material that really set the label apart at the start of the 70s! David Blue has this compelling vocal style that's moody, but down to earth – inflected here and there with guitar contributions from Ry Cooder, who's understated, but really brings out some special qualities in the tunes. Jack Nitzsche adds in some light strings at points – but overall, things are pretty spare and personal – and titles include "Looking For A Friend", "Another One Like Me", "Sister Rose", "The Blues", "Come On John", "Marianne", and "Fire In The Morning". Nice Baby & The Angel shows David Blue really starting to get some star power in his mix – a fuller set, produced by Graham Nash – with work from Nash on guitar, plus more guitar from Dave Mason and David Lindley – in a nice mix of roots elements, but which never overwhelm that unique sense of songwriting and vocals that set David Blue apart from the rest. Titles include "Darlin Jenny", "Troubadour Song", "Train To Anaheim", "True To You", "On Sunday Any Sunday", and "Outlaw Man". On the cover of Cupid's Arrow, David Blue might look a bit cheesy, what with his open shirt and all – but he's definitely the real deal, and very down to earth in his singer/songwriter approach – with a quality that's only underscored by the lineup on the set – a group that features Levon Helm on drums, Jesse Ed Davis on guitar, David Lindley on mandolin and slide, and Barry Goldberg on piano and organ, and also handling production of the album too. The shift from David's roots is a bit like that taken by other contemporaries who once started in more folksy territory, then found a new way to grow in the west coast singer/songwriter scene – and that means that things are more electrified, but still quite far from mainstream music – with original tunes from Blue throughout, and titles that include "I Feel Bad", "Maria Maria", "Primeval Tune", She's Got You", "Tom's Song", and "Run Run Run". CD

This Blue Cheer record, their first of 2 in 1969, has a different lineup on each side–with Bruce Stephens on guitar, tortoise shell, & sandblocks, and Burns Kellogg on piano & organ on the somewhat more bluesy & song-oriented Side 1, while Randy Holden takes over guitar & vocals for the much heavier psych-rock approach on Side 2. Titles include "When It All Gets Old", "I Want My Baby Back", "Aces'N'Eights", "Peace Of Mind", "Honey Buter Lover", and the mind-melting "Fruit & Iceburgs". CD

Really stunning work from John Blum – one of his few efforts as a lead act, and one that has us wondering why he hasn't given the world a lot more tremendous albums like this! Blum's got this way of attacking the piano that's definitely in the school of Cecil Taylor, an old mentor – yet the recording also has this way of working the sound of the room into the blend of the work on the keys of the piano – this kind of echoey brilliance that almost seems to absorb some sonic ideals of avant composition as much as it does explode with the energy of free improvisation! Titles the set features nine tracks in all – each numbered "River" selections. CD

The first-ever musical meeting of these three great players on record – and a set that seems to unlock very different qualities in their work! The music is often fiercely improvised, with drum work from Chad Taylor that resonates with all those tremendous talents that have only grown in recent years – but which are pushed to limits at points here – while David Murray delivers solos that are sometimes straight and soulful, but often have the sharper edges of his earlier material – especially when the piano of John Blum really seems to spur him on! In fact, it may well be Blum's presence here that's really guiding the group – and titles include "Germination", "Monk's Door", "Passage", "Hidden Thorns", "Creatural", and "Fractals". CD

A funky update from New Orleans soul legend Eddie Bo – a set recorded during a brief by great period of funk revival albums by the Soulciety label in Germany – the same imprint who brought back Fred Wesley and Bobby Byrd for some excellent records at the same time! There's a bit less grit in the grooves than some of Eddie's funky 45s of the 60s, but the style's definitely more funk-based than his more bluesy material from the 80s – set loose with tight drums and nice combo backings, and plenty of piano, Rhodes, and vocals from Eddie himself! Titles include "Back Up This Train", "Sister Lucie", "You Got A Hole In It", "It Must Be Love", "Louberta", and "Blackbird". CD

A great collection of funky New Orleans genius from the legendary Eddie Bo – an artist who made music in many different modes over the years in Nola, but who comes across here with a sound that's definitely in the funkiest side of his spectrum! There's lots of cuts on the collection that were only issued as funky 45s – the kind of deeply funky numbers with heavy drums that made Bo such an early favorite for the sampling scene, and which continue to give his work such a sense of urgency over the years! This isn't the slow-rolling, head-nodding side of Crescent City soul, and instead is its much funkier cousin – as you'll hear on tracks that include "Hook & Sling", "Check Your Bucket", "Funky Yeah", "The Thang (parts 1 & 2)", "If It's Good To You It's Good For You", "Sissy Walk", "Eddie's Rubber Band", and "Hey Mama Here Comes the Preacher". CD

One of the first great projects from genius producer Phil Spector – a soul trio that features one guy and two gals, all working in a style that's a virtual blueprint for countless pop to come! The album updates the older doo wop mode to a sweeter 60s style – focusing mostly on the girls in the lead, and using Bob's vocals mostly to underpin, and create a nice bottom in the harmonies. But while the vocals are great, the overall production is maybe even better – all-star handling at the Gold Star studios, with Phil on production, Jack Nitzsche on arrangements, and sharp backing from the Wrecking Crew at their prime. Titles include "My Heart Beat A Little Faster", "Why Do Lovers Break Each Others Hearts", "Jimmy Baby", "Dear", "I Shook The World", "Dr Kaplan's Office", and "Everything's Gonna Be All Right". CD

The first-ever full length set of work from Howard Bomar – a singer who only issued a few rare 45s back in the 60s, yet kept on making music for years! From the very first tune, you'll hear that Bomar has a fantastic voice – that sort of searching, searing style that you'd hear from some of the best of the 60s – almost with a Stax Records level of production at times, but also varied a bit more over the course of the record, especially on some of the few later tracks! Howard's definitely in the deepest side of the deep soul spectrum – even as the instrumentation gets a bit more modern – and titles include "Let It Be Me", "I'll Be There", "Best Of Luck To You", "I'm Gonna Love You", "Set Down Fo I Fall Down", "She's A 911", "What Love Has Joined Together", and a remake of "Purple Rain". CD features bonus tracks – "Down Home Georgia Girl", "Something Beautiful", "I'd Like To Be", "Crazy Bout You Baby", and "Just Let Me Love You". CD

A great look at the work of Eddie Bond – an underground rocker on the Memphis scene during the early years of Elvis, and one who also cut some rare tracks for Sun Records – plus a variety of other labels too! Bond has roots in country, and that definitely comes through in the twang that you'll hear in the vocals and guitar – but all the cuts here certainly resonate with the upbeat, hard-burning style that Bear Family presents in this great "Rocks" series – which, as usual, features great sound and very detailed notes on the music! The set features a whopping 35 tracks in all – including rare gems from later years too – with titles that include "Boppin Bonnie", "Here Comes The Train", "Hey Joe", "Love Love Love", "This Old Heart Of Mine", "Satisfied", "Show Me", "I Can't Quit", "Boo Bop Da Caa Caa", "Broke My Guitar", and "The Monkey & The Baboon". CD

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

A pair of classic albums, served up here in a single set! First up is the sound of Angola, circa 1972 – served up here in a beautiful album of songs from Bonga! The music is relatively spare – mostly just lead acoustic guitar, bass, and percussion – the latter of which is played by Bonga himself, almost always with this lively quality that really matches his vocals – which themselves are filled with all these fantastic inflections that almost remind us of salsa singers of the time – no surprise, given how much Latin music styles were hitting the scene in West Africa during the 60s and 70s. But the style here is very different, too – as Bonga's richly expressive in the way he uses his voice – almost more folkloric, given the acoustic guitar instrumentation – yet surprisingly powerful too, despite the spareness. Titles include "Ku Tando", "Balumukeno", "Uengi Dia Ngola", "Paxi Ni Ngongo", "Muimbo Ua Sabalu", and "Muadikime". Angola 74 is a beautifully sophisticated setting for the voice of Bonga – as he works here with lively small group backings, and a bit of larger orchestrations as well! There's this fantastic blend of folk roots and modernism in the music – maybe a bit like some of the more experimental work from Havana at the time, but a bit like some Brazilian projects too – as the enigmatic vocal inflections of the leader mix with his own percussion – all given nice shadings in color by acoustic guitar. Titles include "Venda Poro", "Kubangela", "Ma Kongo", "Kinga Kueta", "Ghinawa", "Roots", and "Marika". CD

A simply amazing session by pianist Joe Bonner – arguably his best ever! The album is one of a rare few that were cut for the Japanese Why Not label during the mid 70s, and like the others in the series, it features an American spiritual jazz player working far far past his usual mode. Bonner's in amazing form in a trio with Clint Houston and Billy Hart, and the tracks are filled with a fire and energy that you won't find on most of his American recordings from the time – as Bonner runs up and down the keys in a fury of passion, blending perfectly with Houston's deep soulful basslines, and Hart's dancing lyrical drums. Titles include "Triangle", "The Wind & The Rain", "Vega", "Mr PC" and "Invitation". CD

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

The instrumental/dub versions of all the tracks from the Criminal Minded LP – one of the most important albums in the history of hip hop – the first full LP from KRS One, and a landmark batch of tracks recorded with the late Scott La Rock! The track list alone is a full chapter in the hip hop book of legends – with tunes like "Poetry", "Elementary", "South Bronx", "Super-Hoe", "Bridge is Over", and the "P is Free" remix – plus "Criminal Minded", "Dope Beat", and "9mm Goes Bang" CD

The classic Scott La Rock tribute album – with BDP classics and remixes – originally issued as a 2LP set that was put together following the South Bronx-repping hip hop pioneer's shooting death. Alternate versions, remixes and BDP medley's from their most classic late 80s period. 15 tracks in all: "Advance", "D Nice Rocks The House", "Red Alert (Criminal Minded)", 'Doc Mix (Criminal Minded)", "Super Hoe #4", "Word From Our Sponsor #8", "BDP Medley #5", "Poetry" (#s 1, 2 & 3)" and lots more! CD

The second comeback effort from Booker T Jones for Anti-! All around, it's a more sharply-honed and classics-steeped set than its solid, but more southern rock-inflected predecessor – one the finds the Stax organ titan backed by co-producers ?uestlove & Rob Schnapf, Dennis Coffey and others on the sessions, and allstar guest vocals on a few numbers! It's really well done and a worthy effort from a true giant! The heart of the album is the loosely grooving organ soul instrumentals – with a quite a bottom end wallop, thanks to ?uesto, and the incomparable Booker T in great form – but the handful of guest vocalists include Sharon Jones, Jim James of My Morning Jacket, Lou Reed, Matt Berninger and Booker T himself. Titles include "Walking Papers", "Crazy", "Progress", "Down In Memphis" with Booker T on vocals, "Representing Memphis" with Sharon Jones & Matt Berninger, "The Bronx" with Lou Reed (weird, but it kinda works!), "The Vamp", "Harlem House" and "Rent Party". CD

A really burning live set from Argentine tenorist Chivo Borraro – a set that features very extended performances that capture Borraro and his group at their most modern! Chivo burns here in a way you don't always hear on other sessions – very relaxed and opening up in the comfortable confines of the Cricket night club in Buenos Aries – with help from Fernando Gelbard on piano, Jorge Lopez Luis on bass, and Pocho Lapouble on drums – keeping things swinging, but in a loose way that really lets the leader go where he wants! The extended format and bold energy put the record in territory that's similar to, but more avant than, some of the Dexter Gordon live sets coming from the European scene of the time – and titles include "Africa", "Minor Key", "Blues Con Amague" and "Lover Man". CD

The beautiful debut as a leader from pianist Surya Botofasina – an artist you may know from early work in the spiritual Build An Ark ensemble – finally given a chance here to shine on his own! The album's produced by Carlos Nino, with whom Botofasina worked in Build An Ark – and Nino also plays some percussion on the set, and brings some of his own meditative qualities to the music. Yet things are still very much Surya's own, with long tracks that stretch out on lots of sublime piano and keyboard passages that are almost harp-like at times – touched by some of Nino's percussion – and guest vocals on one track by Dwight Trible, and on another by Mia Doi Todd. Titles include "I Love Dew Sophie", "Surya Meditation", "Everyone's Children", "Beloved California Temple", "Waves For Margie", and "Sun Of Keshava". CD

Obscure British soul from Bovel – a Manchester singer from the mid 90s, and one who's got a vibe that's very different than the more popular London soul of the same time! Bovel clearly came up through the underground, and embraces a host of important musical currents here – while also working in a lean style that seems to refine her influences down into a special sort of essence through the DIY presentation of the album! This isn't soul that's trying to hit the charts or the clubs, but instead just stands as the very personal expressions of an artist who's at the crossroads of Northern England cultural currents. Titles include "Check 4 U", "Daydreamer", "Best Thing", "It's Not About Me", "Coming Back", "My Man", "Let Down & Liar", and "Life Changes You". CD

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

A raw, live set from Chicago saxophonist David Boykin – but a great little record that really reminds us of a classic 60s session on ESP! Boykin's reeds are wonderful throughout – filled with the depth of soul we might expect from Kalaparusha or Albert Ayler – and set up here in an open-ended trio with Josh Abrams on bass and Andre Beasley on drums. The tracks are all quite longish and free – but never sloppy or overindulgent – held together with a tremendous focus and presence in Boykin's horn! Titles include "Victory Honor & Glory", "Conundrum", "Big & Fine", "The King", and "Meditation For Momma Long". CD

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

We're not sure why David Boykin couldn't name the club for this performance – as the set's every bit as great as his other live recordings in other venues, and is a testament to the continuing development of this underground saxophone giant of the 21st century! The group is a quartet, with Jim Baker on piano, Alex Wing on bass, and Isaiah Spencer on drums – and at points, Baker's presence on the record is as strong as the raspy tenor of Boykin – even on one track where David vocalizes a bit too. Titles include "Despair", "Big & Fine", and "Fantasy Island". CD

Great work as a leader from Don Braden – a set that was one of his last before moving onto bigger-label fame, and one that's very firmly rooted in the soul jazz underground! Don's got a really classic sound on his tenor – blowing with focus, poise, and a hell of a lot of soul – at times taking us back to older Houston Person records from a few decades before, but also burning with more fire too – especially on the numbers that leap strongly forward with some great rhythms from Kevin Hays on piano, Joris Teepe on bass, and Cecil Brooks III on drums. Brooks produced the set, keeping all edges sharp – and titles include "The Break", "Hillside", "A Blue Spree", "Have You Met Miss Jones", "Landing Zone", "Nightline", and "Amsterdam Jam". CD

A great late 70s performance from Bobby Bradford and his Extet – a group that wasn't nearly as well documented as his combo with John Carter, but one that's almost equally great! The material here is from a 1977 radio broadcast, and is very well recorded – quite open and unrestrained, with lots of space for the group to open up in a range of new ideas! Bradford's in the lead on cornet, and other members include James Newton on flute, Richard Rehwald on bass, and John Goldsmith on drums – the latter two of whom we don't know at all, but both players who really hold their own in the company of these horn heavyweights. Newton's flute has a nice degree of bite, and matches the fire in Bradford's horn nicely – and like other records of the time from Bobby, there's a nice sense of soul and structure – a bit more tightness than work of the period from the east coast, and a somewhat spiritual undercurrent, even when things get a bit free. Titles include "Improvisation #12", "Blue Monk", "She", and "Comin On" – and the CD also features the bonus track "She", recorded in 2003 as a duet between Bradford and Vinny Golia. CD

The great Bobby Bradford recorded famously for the Nessa label back in the 70s – but here he's heard in the company of some younger players on a contemporary recording – one that shows that his fire hasn't dimmed at all! The group's a quartet – with Frode Gjerstad on alto and clarinet, Ingebrigt Haker Flaten on bass, and Frank Rosaly on drums – and the three tracks are all relatively long and quite free – but have this organic sense of building that really matches some of Bradford's energy from the early days – a style that's not as rhythmic or modal as before, but partly because Rosaly and Flaten are such amazingly complex musicians! Titles include "The Silver Cornet Tells", "A Story About You", and "And Me Me & You". CD

One of the last recordings ever made by the genius trumpeter Jaimie Branch – and a set that shows the bold new direction she was going in, right before she left our planet all too soon! The music here leaps forward from any of Branch's earlier recordings – with harder rhythms, more focus in the driving quality of the music, and even some lyrical passages that are quite stunning – vocals that add a lot to the music, and which could have had Jaimie finding an audience in a world far past just jazz! The core group is incredible – the drums of Chad Taylor have never been so powerful, urged on by the bass work of Jason Ajemian – and folded beautifully with the cello, voice, marimba, and keyboards of Lester St Louis. Branch herself also plays keyboards and percussion – and Daniel Villareal guests on some additional percussion too – and the whole thing comes together with an incredible sense of energy and vision, at a level that has us missing Jaimie's presence on the planet even more than before. Titles include "Aurora Rising", "Take Over The World", "Baba Louie", "Burning Grey", "The Mountain", and "Borealis Dancing". CD

Dollar Brand playing solo – but with a vibrancy that hardly makes you miss the other instruments at all! Most of the record features solo piano, but there's also a bit of bamboo flute as well – leading off the set and establishing this great organic vibe to the whole thing, which is then followed by Brand's long-spun, completely hypnotic lines on piano! The recording quality is wonderful – very clear and strong, and quite resonant too – and the set features two side-long long suites – "Africa" and "Reflection" – with shorter passages that move through the warm range of moods you'd find in Brand's other strong work from the time. Titles include "Ancient Africa", "Msunduza", "Single Petal Of A Rose", and "African Sun". CD

A monumental piece of funk – and a record that came into the world at a time when it seemed like just about everyone had forgotten how to play real funky music! This set's the US version of the first album by London scenesters The Brand New Heavies – and although it came out in the states 2 years after the UK set, it's essentially the same record – just featuring new vocals by singer N'Dea Davenport in place of the original vocalist Jay Ella Ruth. Davenport's vocals transported the group from indie acid jazz obscurity into the US soul charts in a way that nobody ever expected – and the resulting album is a stone classic that's filled with excellent cuts like "Ride In The Sky", "Never Stop", "Dream Come True", and "Stay This Way". Great stuff all around – and one of the few classic soul albums of its generation! CD

The group's second real album, and one that never manages to totally capture the groove of the first – but which still has some pretty great writing and playing that set it apart from most of the soul of its generation! The cut "Dream On Dreamer" is one of those early 90s groovers that we still delight in hearing on the radio, or in a surprise mix at a club – and the record's got lots of other nice moments, too, like "Snake Hips", "Fake", and "Keep Together". CD

The baritone sax of German musician Helmut Brandt is at the helm– but the album's equally noteworthy for its strong use of American players Benny Bailey on trumpet, Nat Peck on trombone, and Herb Geller on alto! The concert is one of those wonderful meetings of American and European jazz talents in a large group setting – the kind of mode that cooked up most famously in the Clark Boland Big Band of the 60s – but which also was simmering all over Europe in the decade – as it does here with additional work from Europeans Ack Van Rooyen on trumpet, Stefan Von Dobrzynski on tenor and flute, Gunter Meier on piano, and Siegfried Schmidt on trombone. The tunes are mostly hard-swinging, and exploding with colors – very much in a mid 60s MPS/Saba mode – with a nice balance between individuality and group sound. Titles include "Berlin Calling", "Boris", "Opus C-Moll 794", "Trifi", "Boogie Waltz", and the long "Ferien Suite". CD

A fantastic double-length set – two full albums of music, essential for any fan of Brazilian jazz – or even jazz in general! First up is Esperanto – an incredible album from one of Brazil's greatest reed players of the 70s – the mighty Victor Assis Brasil – a free-thinking spirit who really took Brazilian jazz in bold new directions at the time! The record shows Victor absorbing a lot of post-Coltrane influences, and blending them with a tight approach to rhythm – laid down here by Dom Salvador on piano (and organ), Edison Lobo on bass, and Edson Machando on drums. The group is completed by Helio Delmiro on guitar, and Claudio Roditi plays trumpet on one track – but the real highlight is the amazing reed work by Brasil, which is filled with soul and warmth, plus a deep sense of exploration. The whole session was put together by Roberto Quartin in 1970 – and it's still extremely fresh today. Titles include "Children", "Gingerbread Boy", "Senegal", and "Marilia". Next is Toca Antonio Carlos Jobim – a fantastic album from this legendary Brazilian saxophonist – and one that's way different than the usual instrumental reading of the music of Antonio Carlos Jobim! The setting is less of a bossa-inspired one than a post-Coltrane mode – as Victor Assis Brasil blows alto sax, and a bit of soprano – on long, stretched out versions of Jobim compositions – often given a bit of modal energy, thanks to the group's strong piano and organ performances by Dom Salvador. The rest of the players are all great, too – Helio Delmiro on guitar, Edson Lobo on bass, and Edison Machado on drums – all players who grew up in the bossa jazz years of the 60s, but who here are set free to explore new territory by producer Roberto Quartin. The whole thing's wonderful – and titles include "Bonita", "Wave", "So Tinha De Ser Come Voce", and "Dindi". CD also features two bonus tracks – alternate takes of "Ao Amigo Quartin" and "Marilla". CD

Completely haunting work from this legendary reedman – a set that features the first installment of his Lorraine Music series – served up over a massive 10CDs of music! The first six discs feature a very cool trio – with Susana Santos Silva on trumpet and Adam Matlock on accordion, plus Braxton on saxes and electronics. The use of accordion is fantastic, especially when mixed with Braxton's electronics – and Silva, as always, is tremendous. The remaining four CDs feature a different group, but one that's equally compelling – two bass players, Zach Rowen and Carl Testa – plus saxes from both James Fei and Braxton, the latter of whom also plays electronics again! CD

One of Braxton's first recordings of his work for larger ensembles, and a masterpiece that gives a good example of the kind of early ideas that have informed some of his recent work in the same style. The orchestras vary from track to track, but they all include excellent players like Roscoe Mitchell, George Lewis, Seldon Powell, and Cecil Bridgewater – players who are more than capable of meeting the demands of Braxton's writing, and who can bring a lot of their own to the session. Great stuff, and with a good set of notes. CD

A sweet mix of Brazilian grooves and New York attitude – an overlooked session from the end of the 90s – recorded in the US by Brazilian saxman Leo Gandelman, with soulful help from a variety of American players – including Reuben Wilson on organ and both Charlie Hunter and Grant Green Jr on guitar! There's a rich sort of 70s vibe to the record – a tight, funky blend of jazzy riffing and Brazilian percussion, all put together at a level that almost reminds us of Kudu Records at its best – lean, soulful, and surprisingly focused throughout – a great step forward for Gandelman, and for percussionist Juliano Zanoni, who co-arranged the set with Leo, and also wrote most of the tunes. Supposedly, the record never saw the light of day when it was recorded – making this sweet Far Out package its first-ever release! Titles include "Safari", "Pau Grande", "April 7th", "Dance", "Prince Samba", "Groove In The Head", "Pirulito", and "Charlie 1". CD

The original version of Brel's music, presented to American audiences – with translations by Mort Shuman and Eric Blau – and performances by Shuman, Elly Stone, Shawn Elliott, and Alice Whitfield. CD

14 classics from this duo – including their huge hit "One Toke Over The Line" – plus "The Light", "Rise Up Easy Rider", "Witchi Tai To", "Yankee Lady", "Fifty States Of Freedom", "Tarkio Road", and "Oh Mommy". CD

A surprising sort of set, one in which Dee Dee Bridgewater pays tribute to Ella Fitzgerald – a link we might never have expected in her style! Dee Dee's not totally copping Ella here, though – although she does sing a good number of tunes from the Fitzgerald songbook – and as usual for Bridgewater, there's a pretty unique flavor to most of the material, something that comes through strongly with help from arrangers Lou Levy, Slide Hampton, and Cecil Bridgewater! The band's upbeat and groovy on most numbers – and titles include the Kenny Burrell-penned "Dear Ella", done as a duet, plus "How High The Moon", "Mack The Knife", "A Tisket A Tasket", "Midnight Sun", "Undecided", "Oh Lady Be Good", and "If You Can't Sing It You'll Have To Swing It (aka Mr Paganini)". CD

That's almost an Earth Wind & Fire-styled image on the cover – and the Brit Funk Association definitely live up to the spirit of that scene – which is maybe no surprise, given that group members have a legacy that goes way back for many years on the UK soul scene! There's a warmth to the record that's really timeless – an updating of classic 70s modes that's almost in the Incognito mode, but which is often jazzier at times, with some great focus on horn solos over the vocals – a bit like the mix of jazz, soul, and funk that Wayne Henderson brought to his classic production efforts back in the day! The group give a nod to one of those classics with a sweet cover of "Always There", and serve up a nice take on "Pick Up The Pieces" – alongside tracks that include "Freedom Dancin", "Driftin", "Snowfall", "Elevation", "Let It Flow", and "Take It In Stages". CD

A stunning set from overlooked tenor genius Tina Brooks – a musician who recorded for Blue Note during the key years of Hank Mobley and Johnny Griffin, but whose music was mostly un issued at the time! This rare set is a great second chapter to Tina's True Blue album – material recorded in 1958, but unissued until the late 70s in Japan – at which time the album became an instant classic in the Blue Note catalog – and for good reason, too – as the quintet features a crack lineup – with Lee Morgan on trumpet, Sonny Clark on piano, Doug Watkins on bass, and Art Blakey on drums. The group grooves nicely on Brooks' "Nutville" and "Minor Move" (done in other versions later on Blue Note), plus a nice long take of "The Way You Look Tonight" – and the tracks "Star Eyes" and "Everything Happens To Me". CD

A wonderful title for this rare fourth album from Tina Brooks – as the set was recorded by Blue Note in 1961, but had to wait for many decades to finally get reissued! Don't let that put you off, though, as the set's every bit as sublime as Tina's classic True Blue album for the label – an equally masterful session from a tenor talent whose every note seems to be very special and well-placed – working here in a quintet setting with Johnny Coles on trumpet, Kenny Drew on piano, Wilbur Ware on bass, and Philly Joe Jones on drums! This was the last year that Brooks would ever record, making the set one of his final testaments in jazz – before he lapsed into relative obscurity, and passed away in the mid 70s. Titles include "David The King", "Dhyana", "Talkin About", and "The Waiting Game". CD

A classic set of clubby soul from the All-Platinum New Jersey soul empire of the 70s – the third album from a group who started in funk territory a few years before, but who've definitely sharpened up their groove for the dancefloors here! Brother To Brother are a great example of a group from pre-disco years who evolved very strongly to the best modes of the time – still very underground, and with instrumentation that's schooled from many years gigging together. Billy Jones arranged and produced – that's him on the front, next to Chuck Carrado – both of whom play guitar – in a mix of keyboards, saxes, bass, and drums – often with some nice jazzy currents. Titles include "Dancin Singin", "We Love To Party", "Brother To Brother", "Vibrations", and "I'm Gonna Take Your Love". CD

A 10th Anniversary performance by the Chicago Tentet – a wonderful group that's become the fruitful union of saxophonist Peter Brotzmann with a younger generation of players who were working heavily on the Chicago scene at the time! Back when the group first started, it was something of an experiment – but over the following decade, the ensemble won great attention for their playing, and for good reason too – considering the solo contributions of players like Ken Vandermark and Mats Gustafsson on reeds, Joe McPhee on trumpet and tenor, Johannes Bauer on trombone, Kent Kessler on bass, and Paal Nilssen Love on drums – all working under the visionary leadership of Peter Brotzmann! The tracks are all somewhat long and open-ended – almost more spacious than on other Chicago Tentet records, with a freely improvised feel. Titles include "Ten By Ten", "Little By Little", and "Step By Step". CD

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

There's nothing broken about this set – as the album's one of the strongest, most spiritual sessions we've ever heard from the Chicago Tentet of Peter Brotzmann – a really great group who gave us some amazing albums on the Okka Disk label! The set features two great guests – trumpeter Roy Campell and bassist William Parker – and at some level, the rest of the lineup seem to be opening up into modes that welcome the territory of both jazz giants – especially on the long first track, which is a very different reworking of a composition the group explored on another album! As usual, reedman Peter Brotzmann is at the helm – on tenor, alto clarinet, and tarogato – with Ken Vandermark, Mars Williams, and Mats Gustafsson on other reeds – plus Joe McPhee on trumpet and valve trombone, Jeb Bishop on trombone, Fred Lonberg-Holm on cello and violin, Kent Kessler on bass, Michael Zerang on drums, and Hamid Drake on drums and frame drum, plus some great vocalizations. Titles include "Stonewater" and "Broken English". CD

A legendary trio, very firmly back in action – and making us feel like it's the late 60s European free jazz scene all over again! The energy of the players here is tremendous – and while we've enjoyed the renewed strengths of saxophonist Peter Brotzmann in recent years, we're equally impressed with the fire of Alexander Von Schlippenbach on piano and Han Bennink on drums – both musicians who can give us so many different sounds and styles, but who really remind us here that they're some of the key folks who helped put the "free" in free jazz! Brotzmann blows tenor, b flat clarinet, and tarogato – and titles include the very long "Fifty Years After" and "Frictional Sounds" – plus "Short Dog Of Sweet Lucy", "Bad Borrachos", and "Street Jive". CD

Very rare, very obscure material from this important free jazz trio of the German scene in the 70s – a set that features one long performance originally issued on the JG label, despite the FMP-like image on the cover – plus two more tracks from the same year that appear here for the first time ever! "Just For Altena" offers up the power trio at their best – very freewheeling piano from Fred Van Hove, drums from Han Bennink, and tenor from Peter Brotzmann – with intensity that may well surpass the Machine Gun years, and an understanding of each players strengths that means that there's almost no tentative moments at all in the improvisation! "Filet Americain" and "ICP No 17" are from earlier in 1971 – and showcase a different, more sonic side of the trio – some tones that are at the farther end of hearing, which ruminate then blossom into bolder statements, but still often with a very abstracted approach to each instrument. Great stuff – and every bit as essential as any of the better-known Brotzman recordings of the time! CD

A really dramatic live performance from these free jazz giants – three musicians who really know each other well, but who seem to come off with an even more majestic sense of power here! The performance is from 1974, and it burns with energy right from the start – this sense of inventiveness as if all three players had already mastered their instruments, yet were also surprising themselves during performance with new aspects they had just discovered – a freshness that comes through note after note after note – and in plenty of sounds that aren't notes either! Brotzmann blows alto and tenor, Fred Van Hove plays piano, and Han Bennink nearly destroys his drum kit – on titles that include "Filet Americain", "Involved", "Boogie For Fred", "Der Mammutzahn Aus Balve", and "Schwarzspect". CD