A killer set from the great Lionel Hampton – the first issued on his own small indie label! The group here is that hip 50s ensemble that had Hamp really evolving past his roots, and allowing lots of room for up-and coming younger players – including Harold Mabern on piano, Calvin Newborn on guitar, Virgil Jones on trumpet, and Eddie Pazant on sax! Also features some guest work from King Curtis on tenor and Tommy Flanagan on piano. LP, Vinyl record album

One of Slide Hampton's first albums – and a massively hard-wailing set that will make any doubters sit up and take notice! The set really packs a punch – as Slide leads a hip group that features Freddie Hubbard, Richard Williams, Bernard McKinney, and George Coleman through some tightly woven arrangements that manage to swing with the grace of small combo work, yet wail with the intensity of a big band. Great solos pop out all over the set – and there's a soul jazz groove that makes the album sound like a classic Prestige session. Titles include "Asseveration", "Hi Fly", "Sister Salvation", and "A Little Night Music". CD

A great return to form for George Handy – working here with a hip lineup that includes Allen Eager on tenor, Dave Schildkraut on alto, Kai Winding on trombone, and Ernie Royal on trumpet! LP, Vinyl record album

One of the grooviest records we've ever seen from this hip Japanese ensemble – a set that brings some great keyboards to the group's usual horn-heavy sound! There's a wonderful blend of Fender Rhodes and organ on the set – often used as the lead solo instrument over the fuller backings, in a way that's especially nice on the tunes with Rhodes! Tunes are mighty nice, too – a bit funkier than usual for Hara and the gang – and often arranged with a nice kick on the bottom, which seems to further emphasize the keys. Titles include "Nervous Breakdown", "Come Together", "Spinning Wheel", "Bouree", "Breit Kopt", and "Liberation". LP, Vinyl record album

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

The title certainly gets it right – as Derrick Harriott serves up a wonderful mix of sounds that owes plenty to American funk and soul of the early 70s – some cool Kingston covers of famous US tunes, and some other originals that are equally groovy overall! The set's one of the best that we've ever heard from the Dub Store label – and almost has a Soul Jazz level of track selection – really wonderful work that either features Derrick in the lead, or working with some hip contemporaries, in a groove that's totally great – neither straight reggae, but also quite far from more familiar funk and soul too. Titles include "Black Moses" by The Preacher, "Tougher Than Tough" by I Roy, "Brown Baby" by Derrick Harriott, "Hell Below" by Crystal Generation, "Going Back Home" by The Chosen Few, "Psychedelic Train" by Derrick Harriott, "Slippery" by Karl Bryan & The Crystalites, "Home Sweet Home" by Bongo Herman & Les, "Rescue The Children" by Junior Murvin, "Phoenix" by Noel Brown, "People Make The World Go Round" by The Chosen Few, and "Message From A Black Man" by Derrick Harriott. LP, Vinyl record album

Hardly any ragtime here – despite the title – and instead, the album's one of the greatest ever from drummer Beaver Harris – cut with his ultra-hip 360 Degree Music Experience group! The title is somewhat accurate in that the record brings together a long history of jazz-based expression – almost a century's worth of music, served up by Harris and the group members with the same fluid sensibility as Jaki Byard in his best work, although Byard was never this ambitious! The ensemble is somewhat large, but really comes together well – with an impressive range of artists who include Doc Cheatham on trumpet, Marshall Brown on trombone, Dave Burrell on piano, Keith Marks on flute, Cecil McBee and Jimmy Garrison on bass, and Maxine Sullivan and Bill Willingham on vocals. The album's sort of a mini-history of jazz, but one that's hardly hokey at all – and which usually veers towards Harris' more righteous modes of the 70s, even when hitting older styles. Sullivan is especially great – singing here as a sophisticated soul jazz diva of the 70s, and hardly the older-styled singer we might expect. A few moments are stripped down and percussive – and other odd instrumentation includes a bit of sitar and steel drums. Titles include "It's Hard To But We Do", "I Wish I Knew", "Can There Be Peace?", "Down In Brazil", "African Drums", and "Round Trip". LP, Vinyl record album

A spiritual jazz classic from the hip LA scene of the late 70s – led by saxophonist Billie Harris, and featuring a group that includes Horace Tapscott on piano! We don't know much about Harris, but he's got a freewheeling spiritual sound that's very much in the Coltrane-inspired mode, yet also steeped in the creative improvised style of Tapscott's scene in LA. Tracks are all long, with a sound that builds majestically over time – and the set leaves us wondering why Harris wasn't a bigger player at the time. The core tracks of the CD were recorded in the studio – with Tapscott, Harris, and added bass, percussion, and guest vocals by the enigmatic Lorelei. An additional longer track was recorded live, with a larger group that also includes Adele Sebastian on flute and Sabia Mateen on tenor. And a last track is an 8 minute solo piano number by Tapscott. Titles include "Why Don't You Listen", "I Want Some Water", "Many Nights Ago", "The Advocate", and "Prayer Of Happiness". CD

Wow! We can never get enough of Eddie Harris. Despite all of the silly situations he's ended up in over the years, an album like In Sound still stands as a beautiful testament to all of the raw power in Eddie's playing. His tone is perfect, and totally unique – and he plays here with Cedar Walton on piano, Ron Carter on bass, Billy Higgins on drums, and the great Ray Codrington on trumpet, who also played with the JFK Quintet. No tricks here, just incredibly solid jazz playing, on tracks like Eddie's famous "Freedom Jazz Dance", plus "Born To Be Blue" and "Cryin' Blues". Mean Greens is another example of classic 60s soul jazz material by Eddie – and proof that the move to Atlantic was a good one! As usual with Eddie's 60s sessions, the players are very hip – and feature an amalgamation of younger and lesser-known talents like Melvin Jackson, Ray Codrington, and Sonny Philips. Cedar Walton also plays some lovely piano on the record, giving a few tracks a bit more of a lyrical touch than usual – and Eddie responds to this nicely in his solos. Includes an early take of "Listen Here", with Eddie on electric piano, next to Sonny Philips' organ. Also with "Goin' Home", "Blues In the Basement", and "Mean Greens". CD

Joe Harrison starts out this set with a reference to David Axelrod, and the set just keeps getting better and better after that – as Joe mixes together vibes, mellotron, guitar, organ, flute, and lots of other cool instrumentation – but all with a lean vibe that's definitely more on the hip hop instrumental side of the spectrum! A few other players add in bits too – pedal steel, violin, bass, and guitar – but Harrison keeps things lean throughout, and served up one of the more hip hop-inspired entries in this great series from Madlib Invazion – maybe one that's most in keeping with the production giant who lends his name to the label. Titles include "Shuggie", "Axelrod", "Five Point Palm", "Donuts", "Frodo", "Cochiloco", and "Mr Rogers". LP, Vinyl record album

The first album to document a great new chapter in the career of drummer Billy Hart – his ultra-hip quartet with saxophonist Mark Turner and pianist Ethan Iverson – both younger players who have brought back a real edge to his music! The group has a very different feel than some of the other recent "revival" projects by older jazz drummers – and the focus here is extremely equal, if not even more heavily weighted towards, the younger members of the group. Turner's tenor has all the dark tones and edgey post-Shorter modes heard on his best albums under his own name – and Iverson's angular piano lines revel in a style that's almost in the legacy of Andrew Hill, but more swinging overall. Hart's rhythms are as fluid and complex as ever – making nice use of the cymbals on the fringe, but returning home to the core of the kit when a tighter groove is needed. Titles include "Mellow B", "Lorca", "Irah", "Lullaby For Mike", "Iverson's Odyssey", "Neon", "Charvez", and "Moment's Notice". CD

Pretty hip stuff from drummer Billy Hart – and a record that mixes New York loft jazz traditions with a warmer sense of soul jazz that was being forged by some of the players on the record. Players like Don Pullen, Eddie Henderson, Hannibal Marvin Peterson, Dewey Redman, and Oliver Lake come together nicely – and the album's filled with original tracks that include "Diff Customs", "Layla Joy", "Shadow Dance", "Corner Culture", and "Pharoah". CD

Hampton Hawes isn't exactly the first pianist we think of when it comes to bluesy lines in his music – but there's definitely a blue-tinged undercurrent to most of the work in this set – a well-chosen batch of tracks from Hamp's early years as a leader on Contemporary Records! The album features work in a variety of settings – with players who include Red Mitchell, Ray Brown, or Scott LaFaro on bass – Shelly Manne, Chuck Thompson, or Frank Butler on drums – and some occasional work by Harold Land on tenor sax, and either Jim Hall or Barney Kessel on guitar. Titles include "Blues The Most", "Hamp's Blues", "Hip", "Soul Sign Eight", "The Sermon", "For Real", "Hampton's Pulpit", "Takin Care", "Up Blues", and "Blues For Jacque". CD

A great set by Hampton Hawes – really one of his best ever records, and for a number of reasons! First up, Harold Land's playing tenor on the record, opening it up a lot more than some of Hamp's regular trio sides. Secondly, the bassist on the set is Scott LaFaro, the challenging modernist from Chicago who played such great work with Ornette and Sonny Rollins, and who gives the session a fresher tone than some of Hawes' other recordings. Lastly, the tracks are longish, giving both Land and LaFaro plenty of room to roam, making for a much more adventurous record overall. Titles include "Hip", "Crazeology", "I Love You", and "Numbers Game". LP, Vinyl record album

The "man" is at the top of his powers here – as the set pulls together an insanely great run of music from Isaac Hayes' first years as a solo act – coming on strong with a new sort of sophisticated soul sound that would transform a generation! Hayes had already hit big in the 60s working with writer David Porter – as the force behind some of Stax Records' fiercest, funkiest acts of the time – but as the 70s approached, he broke off as a magnificent artist on his own – full of righteous power, pride, and new ideas for soul music. This collection brings together some of Isaac Hayes' best work for the Stax/Enterprise label – with an especially strong focus on the kind of jams that have held up well for a 21st Century audience – including titles that have either been sampled by hip hoppers, or which represent some of Ike's strongest funkier tunes from the time. Titles include "Part Time Love", "Theme From The Men", "Ike's Rap 2", "Joy", "I Can't Turn Around", "Chocolate Chip", "Feel Like Makin Love", "Never Can Say Goodbye", "Walk On By", "Ike's Rap 1", "Good Love", "Rolling Down A Mountainside", and "Theme From Shaft". LP, Vinyl record album

Rare live work from Tubby Hayes – recorded for Swedish Radio in one of the last years of his life, and a really rock-solid set! Given the professional recording of the performance, the set's quite different than some of the more dodgy Hayes live dates – and given Tubby's disappearance from the studio during these later years, the record may well stand as one of the few good documents of his talents at the time! Backing is by a hip trio that features Staffan Abeleen on piano, Niels Henning Ordsted Pedersen on bass, and Alex Riel on drums – and all tracks are quite long, with beautifully-crafted solos that spin out nicely – all in ways that are a bit looser and more free than some of Tubby's 60s work. Titles include "C Minor Bird", "Off The Wagon", "Vierd Blues", "I Thought About You", and "Without A Song". CD

A fantastically hip, free live performance from British saxophone giant Tubby Hayes – one that's much more open than some of his studio work from the time, and way different than the usual Ronnie Scotts live recording too! The album features one long track – "Modes & Blues" – a brilliantly flowering tune that features Hayes on both flute and tenor, blowing in a way that reminds us yet again why he was maybe the most important reedman on the British scene of the 60s – and an artist who was growing in leaps and bounds as the years went on. The group also features trumpeter Jimmy Deuchar, even hipper than usual in this setting – plus Terry Shannon on piano, Freddy Logan on bass, and Allan Ganley on drums – all players who shape the sound, and get a chance to solo – but always next to the much brighter light of their leader! LP, Vinyl record album

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

Very hip work from a young Jimmy Heath – a relative newcomer to the scene at this point, but breaking out with a firm conception and tone, exercised strongly here in a set of large group arrangements worked out in collaboration with Tom McIntosh. McIntosh's work in this format is well known from albums by Dizzy and James Moody – and as with those records, this one has an edgey quality that really keeps the music fresh, and which provides a good foil for solos by Heath, McIntosh, Pat Patrick, and Cannonball Adderley. Titles include "Big P", "Mona's Mood", "Nails", and "The Picture Of Heath". CD

Very hip work from a young Jimmy Heath – a relative newcomer to the scene at this point, but breaking out with a firm conception and tone, exercised strongly here in a set of large group arrangements worked out in collaboration with Tom McIntosh. McIntosh's work in this format is well known from albums by Dizzy and James Moody – and as with those records, this one has an edgey quality that really keeps the music fresh, and which provides a good foil for solos by Heath, McIntosh, Pat Patrick, and Cannonball Adderley. Titles include "Big P", "Mona's Mood", "Nails", and "The Picture Of Heath". CD features the bonus track "Nails", in an alternate take! CD

A great later set from The Heath Brothers – proof that the family stayed plenty darn hip into their older years! Although issued by Concord, there's a nicely soulful bent to the record – some slightly angular modern moments, inflected with a lot of warmth on the solos – not just from Jimmy Heath on tenor and soprano sax, but also from guest players who include Roland Hanna and Stanley Cowell on piano, Jon Faddis on trumpet, Slide Hampton on trombone, and Mark Elf on guitar. Jimmy Heath's work really makes the album sparkle – and rhythm from Albert Heath on drums and Percy Heath on bass is as rock-solid as ever. Titles include "This Is What It Is", "The Newest One", "Bop Again", "South Filthy", "For Seven's Sake", and "Dave's Haze". CD

Quite possibly the best of the Heath Brothers' post-Strata East albums – and one of the few to capture the spacious sound and hipper undertones that made their first record so great! The style here is certainly more conventional – slightly in that "embrace all jazz tradition" mode that was sometimes popular at the time – but there's still plenty of hip moments here too, including flute and soprano sax work from Jimmy Heath, keyboards from Stanley Cowell, and bits of kalimba too – although used a lot more sparely than before. The record's probably most reminiscent of Heath's best straight work of the time – and titles include "In New York", "A New Blue", "Mellowdrama", "Changes", "Prince Albert", and "Artherdoc Blues". LP, Vinyl record album

A really wonderful soundtrack, for a very gripping film! Synanon, for those not in the know, was a famous west coast drug treatment center in the 60s – well known for its work with musicians like Joe Pass, Art Pepper, and others. The hospital is the setting for this dramatic film that starred Chuck Connors, Edmund O'Brien, and Stella Stevens – and it features a very hip soundtrack by Neal Hefti, on a par with his best jazzy work of the 60s! The tunes have a swinging approach – with some nice use of organ, drawn out in a spare thin tone that snakes through the best numbers with a sexy ease. The mood changes nicely from track to track – but keeps a groovy pace that makes the soundtrack a lot fresher than you might think, given the topic of the film. Titles include "Zankie", "Main Street", "Blues For Hopper", "Hope", "Tonight's The Night", and "Open House". LP, Vinyl record album

An excellent album – and one of Joe Henderson's boldest sets from the early 70s! The record features Joe working with a hip group of young Japanese players that includes Terumasa Hino on trumpet and Masabumi Kikuchi on piano and electric piano – and the sextet format of the session stretches way past Joe's other Japanese recording from the time, which was issued in the US on Milestone. This one features very long tracks, with tremendous intensity from both the group and Joe, who's got a real edginess to his playing here. Includes a version of "So What", plus the originals "Sunrise In Tokyo" and "Get Magic Again". CD

Soulful beats with more than a hint of a hip hop influence – no surprise, considering that the album features guest appearances by Bahamadia, What What, Roots Manuva, The Dream Warriors, and Blade. Lots of heavy downtempo beats, a great one to kickback and herbalise to! Titles include "Who's The Realist?", "Moon Sequence", "Mind In The Frame", "Shattered Soul", "Let It Go", "When I Shine", and "Starlight". CD

Two rare 60s soul albums – back to back on a single CD! First up is Soul Superman by The Hesitations – a wonderful album of rare Detroit soul – and quite possibly the best full length set ever recorded by this sublime 60s harmony group! There's a really righteous approach to most of the material – a deeper sound than you might expect from the group's more formal look on the cover – and the set was put together by Jack Ashford and the Pied Piper team – who give the record this great "in the shadows of Motown" vibe – that farther side of the Detroit scene, but with a quality that's top shelf all the way through! The vocal range of the group is fantastic – and not only that, there's a heck of a lot of great writing on the set – what we can tell, nearly every number is exclusive to this set. Titles include "Soul Superman", "You'll Never Know", "She Won't Come Back", "Soul Kind Of Love", "I'll Be Right There", "Wait A Minute", and "I'm Not Build That Way". Next is With A Dab Of Soul – the only full length record cut by Freddy Butler, a heck of a great singer with a really unique voice! Freddy hails from Detroit, and like the best of Detroit singers of the 60s – such as JJ Barnes or Darrell Banks – he's got a style that's got some rootsy touches, especially on the vocals, mixed with production that's tight and focused – which really gives the album a lot of swing! Instrumentation includes some nice use of vibes and piano – no surprise, since Jack Ashford and the Pied Piper team handled the recording – and the album also features some great early compositions by Nick Ashford. Titles include "This Thing", "You'd Better Get Hip Girl", "Never Let Love Go", and "I Fell In Love". CD

A great live date from this ultra-hip combo – one that has them really settling in to their new home at Blue Note, by taking on a host of classics from the label – along with key tracks of their own composition as well! The sound here is even more wonderful than on some of their studio sets – almost a bit more earthy, and human – given the spontaneity of the concert performance, especially in the rhythm section. Fabrizio Bosso's trumpet and flugelhorn are right out front, matched proudly by the tenor of Daniele Scannapieco – and rhythm is from Luca Mannutza on piano, Pietro Ciancaglini on bass, and Lorenzo Tucci on drums. Titles include great versions of "Adams Apple", "Passion Dance", and "Inception" – plus "Five For Fun", "On The Way Home", and "Pandaguru". CD

One of our favorite records by Earl Hines – a hip little comeback set, recorded in the mid 60s with an Ellingtonish lineup that includes Clark Terry, Cat Anderson, Ray Nance, Lawrence Brown, Jimmy Hamilton, and Johnny Hodges. Hines' piano is certainly a strong force in the record, but even more delightful is the solid feel of the players overall – working with that complete coherence found in the best 60s sides by Duke, but touched here with some of Hines' sprightly approach to the melody. Titles include "Once Upon A Time", "Black & Tan Fantasy", "You Can Depend On Me", "Hash Brown", and "Fantastic That's You". CD

One of the most striking mid 70s sessions from Japanese trumpeter Terumasa Hino – an extended suite of tracks performed by a very hip group that includes Mtume on congas and percussion, Cecil McBee on bass, and Motohiko Hino on drums! The approach here is almost in a mid 70s spiritual soul jazz mode – with lots of spare percussion and bass work at the beginning, building in mood and meaning as the set goes on and things heat up. Hino plays trumpet and percussion, and all players vocalize at parts of the performance – chanting along with the tunes in a way that really adds a soulful undercurrent to the record. Titles include "The Good People", "Hohjoh", "Hogiuta", and "Yuhkyu". CD

Rare small group work from the great Johnny Hodges – an unissued live set from the start of the 60s, and one that has Johnny working with key Ellington sidemen in a very Ellington-like setting! Solo Hodges could usually take one of two forms – more soulful small group material that has less of the arrangements of his longtime leader, the Duke – and more Ellington-based performances, of which this set is definitely one – as Hodges leads a hip combo with Ray Nance on trumpet, Lawrence Brown on trombone, Harry Carney on baritone, Al Williams on piano, Aaron Bell on bass, and Sam Woodyard on drums. Tunes are almost all numbers by Ellington or Billy Strayhorn, but done in a nice lean style, with key solo performances throughout – and titles include "Rocking In Rhythm", "Jeep Is Jumpin", "Things Ain't What They Used To Be", "Sophisticated Lady", "Mood Indigo", and "Solitude" – plus "Good Queen Bess", "Perdido", and "Autumn Leaves". The sound quality is great – very clear, with a nicely crisp tone on the horn parts, especially Hodges and Carney! CD

Later work from Billie Holiday – all recorded for Verve with some hip group backing! LP, Vinyl record album

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

Classic Freddie Hubbard on Blue Note – from the hip cover to the magical music in the grooves! The session is one of Freddie's all-time best from the early days – and features a very hard wailing lineup that mixes tight hardbop rhythms with some more adventurous soloing that almost has a modern jazz kind of tinge. Cedar Walton's on piano, Julian Preister's on trombone, and Jimmy Heath is on tenor – working with Freddie to craft some mindblowing work on titles that include the amazing "Plexus", plus "Hub Cap", "Cry Me Not", and "Earmon JR." CD also features a bonus alternate of "Plexus". CD

Pianist Per Husby is a player with a rich, warm tone – one that really sets the stage here for some wonderfully soulful explorations by a very hip group – a combo who sound perfect when they hit a modal mode, but can also do some other wonderful things as well! Husby's piano is rich at the core, but the record is balanced with all sorts of great reed work – Knut Riisnaes on tenor, Harald Bergsen on alto and tenor, and Bjorn Johansen on soprano, tenor, and baritone – balanced nicely by the trumpet work of Bernt Anker Steen, and given a strong rhythmic pulse from Carl Morten Iversen on bass and Svein Erik Gaardvik on drums. And if you think all these Norwegian names might add up to a sleepy session, you're totally wrong – as the record is a great example of the way the better players on the European scene were absorbing American spiritual jazz experiments, then using the energy to make something new of their own. The title track "The Peacemaker" is worth the price of admission alone – and other titles include "Introduction To No Particular Song", "Smatta", "Nokve", "Fantasy In D", and "Adgang F". LP, Vinyl record album

Righteous Bobby Hutcherson from the 70s – one of his last albums recorded in the company of reedman Harold Land – and one of his greatest too! There's a wonderful mix of modes going on here – modal jazz meets California sun, blending a sense of spiritualism with some of the warmth that Hutcherson was increasingly discovering in his music – especially on the album's use of marimbas, which are surprisingly great next to Bobby's vibes! In addition to work from Land on tenor and flute, the set also has the great Woody Shaw on trumpet – plus Bill Henderson on Fender Rhodes, Emanuel Boyd on tenor, Ray Drummond on bass, Larry Hancock on drums, and Kenneth Nash on percussion – a rhythm player who really helps give the record some hip Strata East-like touches. Titles include a sublime reading of Shaw's "Rosewood" – plus "Zuri Dance", "Wrong Or Right", "Even Later", and "Cirrus". CD

One of our favorite Bobby Hutcherson albums ever – and a magical session filled with electric Latin vibes! The album's quite a different one for Bobby at the time – as it has him working with some larger arrangements, in a soulful west coast groove that's almost got the feel of a hip 70s soundtrack. Bobby's vibes are nicely set up against Fender Rhodes on most tracks – and the group's got some added Latin percussion that really opens up the rhythms. The whole thing's totally wonderful – brimming over with sun and soul, the kind of magic record that will never be made again! Tracks include "Camel Rise", "Yuyo", "Montara", "La Malanga", "Little Angel", and "Love Song". CD

One of our favorite Bobby Hutcherson albums ever – and a magical session filled with electric Latin vibes! The album's quite a different one for Bobby at the time – as it has him working with some larger arrangements, in a soulful west coast groove that's almost got the feel of a hip 70s soundtrack. Bobby's vibes are nicely set up against Fender Rhodes on most tracks – and the group's got some added Latin percussion that really opens up the rhythms. The whole thing's totally wonderful – brimming over with sun and soul, the kind of magic record that will never be made again! Tracks include "Camel Rise", "Yuyo", "Montara", "La Malanga", "Little Angel", and "Love Song". CD

Great solo piano work from Abdullah Ibrahim – and a set that's put together a bit differently than some of his other records of this nature! Often, solo Ibrahim sides are quite long and extended – but this time around, most of the tracks are quite short – some around three minutes, some almost only 60 seconds – making for a really fresh approach to the solo piano genre, and one that almost has Abdullah painting these wonderful little pictures in sound! The brevity of the tunes is no reflection of their depth – as Ibrahim really packs a lot into the small space focusing his ideas wonderfully, and moving through some dark themes that really hold us in rapt attention throughout. Titles include "Jabulani", "Mamma", "Bayana Children Of Africa", "In The Evening", "Ocean & The River", "Blue Bolero", "For Coltrane", "Dust", "Tookah", and "Blues For A Hip King". CD

Beautiful solo work from pianist Abdullah Ibrahim – a player with a sound so rich and rhythmic, his sessions like this are often every bit as captivating as his trio and group recordings! There's a really special sort of poetry going on here – first in the way that Ibrahim brings out these unusual tones in the piano – a warmth that almost feels like a Fender Rhodes at times, even though the instrument is acoustic – secondly in the structure of the tunes, which are sometimes short and very poetic – packing a lot of meaning into just a very short space in sound! To balance that out, the record has many different selections – twenty in all – some older compositions reworked, some less familiar. Titles include "Sotho Blue", "District 6", "Tokai", "Blues For A Hip King", "In Tempo", "Dreamtime", "Nisa", "Mindiff", "Trieste My Love", and "Signal On The Hill". CD

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

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

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

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

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

Heavy funk from a hip Japanese combo – one that features lots of drums and percussion from leader Akira Ishikawa, plus plenty of guitar, keyboards, and hard-riffing horns! Akira's taking most of his cues here from American funk of the early 70s – work by Incredible Bongo Band, BT Express, and others – but he often serves up the music with a fair bit of conga work at the front of the arrangements, in a way that takes familiar tunes and gives them a much rootsier, earthier kind of groove! The approach is unique, but totally great – and the album's a funk album unlike anything else we can think of – quite unusual even for the experimental Japanese scene of the time. Titles include "Bongo Rock", "Pick Up The Pieces", "Do It Til You're Satisfied", "I've Got To Use My Imagination", "Let's Start", "Love Is The Answer", and "Boogie On Reggae Woman". LP, Vinyl record album

One of the coolest records we've ever heard from Japanese drummer Akira Ishikawa – even wilder than some of his famous funk sessions of the time! The set definitely lives up to its African Rock promise – as it features lots of sparely percussive tracks that build beautifully – clearly drawing from African inspiration, in the same way that other albums by Akira drew from American funk – then also adding in some cool production and hip effects that help further some of the "rock" side of the agenda! At points, the record almost feels like a solo percussion jam – but at others, the guitars really get heavy, with a jamming intensity that's simply mindblowing. There's lots of psychedelic overtones when the guitars come in – and they make for a wicked contrast with some of the more organic, percussion-oriented moments. All tunes are nice and long, and titles include the extended break cut "Pigmy", plus "Vita", "Na Tu Penda Sana", and "Wanyamana Mapambazuko". LP, Vinyl record album

One of the funkiest records ever from Akira Ishikawa and his Count Buffalos band – a hip little groover that stands head to head with some of the best funky jazz from the US and Europe of the time! Despite Akira's earthy look on the cover, the record's got a relatively electric feel overall – thanks to some sweet electric piano from Hiromasa Suzuki and organ from Norio Maeda – both of whom work together on most numbers, with a great sense of flow between the keyboards! The rhythms have some Latin and African percussion added on the bottom, which gives the grooves a nicely chunky feel – and some cuts have some sharp-edged tenor solos from Takeru Muraoka, who further deepens the soul of the set. The album's a really tremendous one through and through – as righteous as a lost American funky fusion set from the early 70s – and titles include "African Deer", "Sunrise", "Sandstorm", "Blue Soul", "Bakishinba", and "Mirage". LP, Vinyl record album

Jazzy magic from the current Japanese underground – a hip group bubbling under, but with the same magic energy Jazztronik! Like Jazztronik, J's Bee blends together solid jazz roots and modern production – searching out some richly organic grooves that start slowly, build with spare keyboards and rhythms, and then take off to the skies with a really righteous sound. There's a bit of vocals on the set, but like Jazztronik, the group's equally well suited to working in an instrumental mode too. Tracks include "Eclipse", "Glow", "Naked", "Floating", "DB (Deep Blue)", and "Desert Skyline (Version 2)". CD

Jackie & Roy are definitely getting bit wilder here – hitting an electric early 70s CTI mode, and really growing a lot in the process! The session has the vocal pair working with CD players who include Hubert Laws on flute, Joe Farrell on saxes, Roy Pennington on vibes, and Steve Gadd on drums – all working with arrangements from Roy that are every bit as hip as the Don Sebesky treatments they previously got on CTI. The tracks are all longish, with plenty of room for complex vocals and great interaction with the instruments – and the titles are all originals, sounding really great and creative! Titles include "Good & Rich", "The Way We Are", "Waltz For Dana", "Niki's Song", and "A Wilder Alias". CD

Jackie & Roy are definitely getting bit wilder here – hitting an electric early 70s CTI mode, and really growing a lot in the process! The session has the vocal pair working with CTI players who include Hubert Laws on flute, Joe Farrell on saxes, Roy Pennington on vibes, and Steve Gadd on drums – all working with arrangements from Roy that are every bit as hip as the Don Sebesky treatments they previously got on CTI. The tracks are all longish, with plenty of room for complex vocals and great interaction with the instruments – and the titles are all originals, sounding really great and creative! Titles include "Good & Rich", "The Way We Are", "Waltz For Dana", "Niki's Song", and "A Wilder Alias". LP, Vinyl record album

One of our favorite albums of all times – and a legendary testament to the greatness of the Chicago music scene in the late 60s! Melvin Jackson was the bassist in Eddie Harris' very successful group of the time – and his playing on Eddie's trippy and funky records for Atlantic is one of the factors that made them so great. Here, he's working with an acoustic bass, amplified with electronics like a Varitone sax – and this strange-sounding instrument is set up in a hip group that mixes Cadet funky studio players (Phil Upchurch, Morris Jennings, Jody Christian) with some of the brighter young players of the AACM (Roscoe Mitchell, Lester Bowie, and Leo Smith.) Jackson's bass is looped through all sorts of crazy effects, and the result is this amazing blend of avant garde playing and groovy rhythms that is beyond compare! The album includes great reworkings of two Eddie Harris funk tracks – "Bold and Black" and "Cold Duck Time" – plus monster originals like "Funky Doo", "Say What", "Dance Of The Dervish", and "Funky Skull (parts 1 & 2)". CD

One of our favorite albums of all time – and a legendary testament to the greatness of the Chicago music scene in the late 60s! Melvin Jackson was the bassist in Eddie Harris' very successful group of the time – and his playing on Eddie's trippy and funky records for Atlantic is one of the factors that made them so great. Here, he's working with an acoustic bass, amplified with electronics like a Varitone sax – and this strange-sounding instrument is set up in a hip group that mixes Cadet funky studio players (Phil Upchurch, Morris Jennings, Jody Christian) with some of the brighter young players of the AACM (Roscoe Mitchell, Lester Bowie, and Leo Smith.) Jackson's bass is looped through all sorts of crazy effects, and the result is this amazing blend of avant garde playing and groovy rhythms that is beyond compare! The album includes great reworkings of two Eddie Harris funk tracks – "Bold and Black" and "Cold Duck Time" – plus monster originals like "Funky Doo", "Say What", "Dance Of The Dervish", and "Funky Skull (parts 1 & 2)". LP, Vinyl record album

Uncensored is right! Millie's live shows during the 70s were a lot raunchier than any of her records – and were usually filled with profanity, off-color jokes, and plenty of frank and foxy references to sex. She'd built her name on record through sweet heartbreaking southern soul sides – but this album gives the at-home listening crowd one of their first tastes of Millie in the raw, and it contains many classic monologues and lots of witty patter that Millie still uses in live shows to this day. Includes a great version of "If Loving You Is Wrong", with a hip rap in the middle; a nice take on "Keep The Home Fire Burnin", with a similar monologue to that used by Latimore in his live sets; a version of "Do Ya Think I'm Sexy?", the "Phuck U Symphony"; a piece on "The Soaps", and "Didn't I Blow Your Mind". LP, Vinyl record album

One of the best-known 50s jazz sessions from the Savoy label – a laidback classic that's a great illustration of the label's shift in modes after the early bop years! The setting here is relatively informal – with Milt Jackson as the ersatz leader, working almost in blowing session mode with hip players who include Frank Wess on flute and tenor, Hank Jones on piano, Eddie Jones on bass and Kenny Clarke on drums – all players who relax into a groove wonderfully, and really open up on the album's four long tracks. Titles include the classic reading of "Opus De Funk", plus "Opus Pocus", "You Leave Me Breathless", and "Opus & Interlude". LP, Vinyl record album

One of the best-known 50s jazz sessions from the Savoy label – a laidback classic that's a great illustration of the label's shift in modes after the early bop years! The setting here is relatively informal – with Milt Jackson as the ersatz leader, working almost in blowing session mode with hip players who include Frank Wess on flute and tenor, Hank Jones on piano, Eddie Jones on bass and Kenny Clarke on drums – all players who relax into a groove wonderfully, and really open up on the album's four long tracks. Titles include the classic reading of "Opus De Funk", plus "Opus Pocus", "You Leave Me Breathless", and "Opus & Interlude". LP, Vinyl record album

Go Power indeed – as the album's a really stripped down groover, and one that has the tenor of Illinois Jacquet working in spare trio formation with Milt Bucker on Hammond and Alan Dawson on drums! The record's got a sound that's even earthier than some of Jacquet's other work for Argo – partially because the session was recorded live at Lennie's On The Turnpike in Boston, but also because the tracks are longer and a bit more open-ended. Buckner's a great counterpart for the album, with a groove that's deeper than we remember – and the hip drumming of Alan Dawson helps keep things in a groovier 60s mode throughout. Titles include "Watermelon Man", "Illinois Jacquet Flies Again", "On A Clear Day", and "Pamela's Blues". CD

Not just a wonderful record for the music, but also for the classic cover image too – a photo of Ahmad Jamal's righteous night club The Alhambra – an Eastern-themed spot on Chicago's Michigan Ave, where Jamal made some incredible music for a few short years! Jamal was one of the few jazz musicians to control his means of production this strongly – and, according to legend, the club actually closed down because he wouldn't allow alcohol to be served – a key support of his spiritual beliefs, but not the greatest choice when running a nightclub. Regardless of that history, though, the music continues to be as proud and powerful as ever – a key modern moment in jazz piano, handled by a trio that also features the legendary Israel Crosby on bass, as well as Vernell Fournier on drums. The set was recorded inside the Alhambra – and tracks include the lovely "Snow Fall", plus hip Jamal takes on "The Breeze & I", "Sweet & Lovely", "The Party's Over", and "Autumn Leaves". CD

A landmark album – not only for Bob James, but for CTI and the Fender Rhodes as well! This is the album where all the magic starts – the first of many extremely successful albums that Bob recorded during the 70s under his own name, and almost the birthplace of the modern hip hop keyboard sample line! The album's stuffed with great numbers – including a sublime reading of "Feel Like Making Love", and the classic "Nautilus" – a slow, dark, funky tune that's worth the price of the album alone! Other tracks include "Valley Of The Shadows", "Night On Bald Mountain", and "Soulero". LP, Vinyl record album

This hip Chicago group reference our mighty 606 urban trail here – and come across with a sound that's equally city gritty – served up in a blend of elements borrowed from blues, funk, soul, and rock! There's plenty of great harmonica in the grooves – performed by lead singer James Porter, a vocalist with a very distinct, powerful sound – one that really resonates with some of the work he's given our city over the past few decades as both a force in radio and in print! Titles include "Walkin The 606", "What's The Deal", "Play Me Or Trade Me", "Your Way Ain't Workin", and "Hidey Hole". CD

A fond farewell to Miles Davis – played here by a hip trio that features Keith Jarrett on piano, Gary Pecock on bass, and Jack DeJohnette on drums! A few of the numbers are ones that Davis recorded famously in years past, and a few others are originals – played by the trio in ways that are hardly Davis-like, but which certainly draw from the rich legacy of music he created. Rather than a Miles soundalike record, consider this one as a musical poem to the (then) recently departed great one – a beautiful set of music, with titles that include "Bye Bye Blackbird", "Blackbird Bye Bye", "You Won't Forget Me", "Summer Night", "For Miles", and "Straight No Chaser". CD

A classic masterpiece from J Dilla – a record that set the tone for countless hip hop releases in years to come – but which still shows Jay Dee as one of the smartest, sharpest, most forward-thinking producers to rule the roost! The set's got some incredible live instrumentation – lots of funky drums from Karriem Riggins, and a wealth of Fender Rhodes and other keyboards from Dwele – two artists brought along from the Detroit underground by Dilla, in a lineup that also includes work from Frank N Dank, Blu, Phat Kat, and Beej. The whole thing is fantastic, this amazing blend of instrumentals and vocal numbers that show that hip hop had plenty of new territory to open up in the 21st century – on titles that even include tributes to some key inspirations – like "African Rhythms" (Oneness of Juju), "Brazilian Groove" (Earth Wind & Fire), and "Think Twice" (Donald Byrd). The whole thing is classic – and other cuts include "Rico Suave Bossa Nova", "Shake It Down", "Give it Up", "The Clapper", and "Come Get It". CD

Jay Z's second LP, the one right before he adopted the "hot"/Swizz Beats sound. Like the first LP, there's a good mix of more hip hop tracks like "Streets Is Watching", "Friend Or Foe '98", "Rap Game/Crack Game" and even the more radio friendly are still kinda dope, like "A Million & One Questions" and "Who You Wit". Plus a few nice old school samples, like Funky 4+1's "Rockin' It" on "Always Be My Sunshine". LP, Vinyl record album

This issue looks at jazz singers from the postwar years onwards – starting with the generation of Jennie Smith, who's pictured on the cover – and running up through key hip vocalists well into the 21st Century! The issue follows previous ones in that it has a discography of the artists within – with a few key albums of dozens of singers, presented with a black and white image of the album cover, and other details in English – a huge rundown of vocalists, with a lot of albums to discover! And as always, there's other features too – a cool color section at the start, jazz reviews and other news, in a total of 216 pages with black and white images throughout. Book

An amazing record that predates many ideas in soul jazz by a decade! Drummer Ron Jefferson was a lesser-known member of the LA bebop scene of the late 50s and early 60s, but by the time he cut this album for French Polygram in the mid 60s, he'd been to Africa, and had discovered a whole new set of musical visions – many of which are worked out in this unique trio session that features bassist Roland Haynes, guitarist Buz Saviano, and Jefferson himself on flute and drums. The music is incredibly spiritual, righteous, and free – and sounds much more like something you'd find on a hip American underground label1975, than it does a French session from the 60s – especially on side two, which features a long track that mixes more freethinking work on guitar with the kind of work on drums that should have made Jefferson a legend – very different than on his other recordings. The span of playing is amazing, and despite the seemingly familiar trio setting, the group hits a wide range of sounds as they play through a set of Jefferson's unique compositions like "Africa The Beautiful", "Every Little Bit Helps", "Fu Yu", and "The Speaker". LP, Vinyl record album

A damn great little record – a small label indie side, but a set that had an unusually strong influence on vocal jazz in the 60s – really setting a new standard for the generation to come! Marv swings things with a hip, sophisticated style – shaking off some of the excesses of the Billy Eckstine generation, going for the leaner modes of the Frank Minion set – and coming up with some groovy tunes that really sparkle in his hands! Marvin plays piano and celeste, and the set also features organ from Charles Kynard and Groove Holmes, flute and tenor from Buddy Collette and Clifford Scott, trumpet from Carmell Jones, and guitar from Hank Crawford – about as hip a backing group as you could hope to pull from the LA scene! The set includes the killer "Big City" – penned and sung by Jenkins, but covered by plenty of others – plus "Chicago", "Small Town", "City Blues", "Visit Me Today", and "I'm Always Drunk In San Francisco". LP, Vinyl record album

Beautiful early work from Jethro Tull – a formative set that really has the group deepening both their themes and their music! There's still a bit of blues rock at the core – but also some richer, more lyrical modes too – and Ian Anderson does a perfect job of bridging both worlds with his sublime work on flute – an instrument that must have seemed like an odd lead for a rock group at the time, but which is no surprise in the same generation that artists like Herbie Mann and Roland Kirk were making their own hip records – not to mention the great Harold McNair, who was a UK contemporary of Andreson. The whole thing's great – a record that's ripe for rediscovery, and which really gives back year after year – and titles include "A New Day Yesterday", "Back To The Family", "Fat Man", "Reasons For Waiting", "Nothing Is Easy", and the classic instrumental "Bouree". LP, Vinyl record album

An album that begins with a hip hop vibe at the start, but which soon moves into really warmly wonderful territory – at a level that marks the set as a hell of a debut for Joe! The singer has this raspy charm to his vocals that's really wonderful – the kind of individual voice that really sets a record like this apart from the rest of the time, even when some of the song structures are familiar. Joe helped produce the set, and he does a great job of letting the personal qualities of his voice trickle through some of the beats and gentle grooves of mainstream R&B from the period – setting out a unique vibe throughout, on titles that include "What's On Your Mind", "The One For Me", "All Or Nothing", "I Can Do It Right", "Get A Little Closer", "Baby Don't Stop", "Everything", and "If Loving You Is Wrong". Includes bonus tracks – "The One For Me (club mix)", and "All Or Nothing (poor Georgie Posey rmx)". CD

A wonderfully ambitious project from these two legendary improvising musicians – a larger project for stage that was created by both pianist Alexander Von Schlippenbach and drummer Sven Ake Johansson – the latter of whom here is very much into his later life role as a composer! The set features a mix of voice, vocals, and music – some spoken parts by Johansson, sung passages by the great Shelly Hirsch – and work from a very hip group that includes Wolfgang Fuchs and Dietmar Diesner on saxes, Paul Lovens on drums, Tristan Honsinger on cello, Anne Le Baron on harp, and Schlippenbach on piano. There's a mixture of free jazz, structure, and voice that almost feels as if Bertolt Brecht and Kurt Weill had the chance to record an album for FMP – and this beautiful set presents the first-ever release of the important 1994 performance of the material. LP, Vinyl record album

JJ Johnson's greatest album – without a doubt! This gem of a session was recorded in 1960 in New York, with an incredibly hip sextet that includes Cedar Walton, Clifford Jordan, and Freddie Hubbard. The tracks are all long, hip, and very much in a Blue Note soul jazz mode – very unusual not only for Johnson, but for Columbia records as well. The album feels like it should have been issued on Epic, with those killer Dave Bailey sides from 1961 – which might be why it has frequently gotten lost in Johnson's career, hidden amidst some of the sleepier material that seems to see the light of day more often than this one. The album's a stone winner all the way through – and features Johnson playing some of his gutsiest solos ever. Tracks include "Minor Mist", "In Walked Horace", "Fatback", "Aquarius", and "Shutterbug". LP, Vinyl record album

One of the few albums ever cut by reedman Rudolph Johnson – a hell of a saxophonist, and one with a great ability to combine the spiritual with the searing – a bit like Joe Farrell at his CTI best, but not as freewheeling – nicely focused, and a little bit funky in all the right parts – in ways that make this album one of the real standouts on the legendary Black Jazz label! The groove is nice and hard, and plenty dark – with lots of sharp edges around the offbeat rhythms, and a "bite" that makes the album one of the heaviest titles on the label. Other players include John Barnes on piano, Reggie Johnson on bass, and Ray Pounds on drums – and titles include the great "Diswa", which has sort of of a tight jazzy hip hop sample feel to it, plus "Mr TJ", "Little Daphne", and "Spring Rain". CD

One of the few albums ever cut by reedman Rudolph Johnson – a hell of a saxophonist, and one with a great ability to combine the spiritual with the searing – a bit like Joe Farrell at his CTI best, but not as freewheeling – nicely focused, and a little bit funky in all the right parts – in ways that make this album one of the real standouts on the legendary Black Jazz label! The groove is nice and hard, and plenty dark – with lots of sharp edges around the offbeat rhythms, and a "bite" that makes the album one of the heaviest titles on the label. Other players include John Barnes on piano, Reggie Johnson on bass, and Ray Pounds on drums – and titles include the great "Diswa", which has sort of of a tight jazzy hip hop sample feel to it, plus "Mr TJ", "Little Daphne", and "Spring Rain". LP, Vinyl record album

Man, these guys just keep on getting better – and this time around, Durand Jones & The Indications deliver a record that's way more than just another funk band with a lead singer! Instead, there's a depth and complexity to this set that takes us back to our favorite indie soul albums at the start of the 70s – particularly ultra-hip work from the Philly and New Jersey scenes, where sweet and funky soul modes could exist in equal space – and come up with results that are every bit as great! The core funky instrumentation from the group is still in place - but there's also larger arrangements with a bit of strings and vocals – really opening up the tunes, and somehow underscoring their more righteous currents in a way that smaller instrumentation would never do. Jones sounds better than ever – as if he's been waiting for a chance like this to really take off – and titles include "Morning In America", "Circles", "True Love", "Walk Away", "Long Way Home", "Sea Gets Hotter", "How Can I Be Sure", "Listen To Your Heart", and "Court Of Love". CD

A strange little film with a western motif – starring Bill Cosby, Leif Erikson, and Yaphet Kotto! Fortunately, Quincy Jones was the musical supervisor – so the tracks are hip enough in the best parts – a bit rootsy at times, but with a 70s soul approach that keeps things real. The best cuts include the vocal number "Better Days" by Bill Withers – but even better are the instrumental numbers by JJ Johnson, including the oft-sampled groover "Pull, Jubal, Pull". LP, Vinyl record album

A huge 90s album from Montell Jordan – one that formed a big bridge between the worlds of hip hop and R&B, and which has had some surprisingly strong legs in the years after it was first crafted! Plenty of folks blended hip hop elements with soul, but Montell may well have been one of the few to really knock it out of the park like this – not just with the oft-played title track, but also over the course of the whole record, which blends some more attitude-heavy cuts with others that are emotionally open as well! Montell handled a lot of the production himself, clearly with an ear for his strengths – and titles include the classic "This Is How We Do It", plus "Don't Keep Me Waiting", "Comin Home", "Payback", "Somethin 4 Da Honeyz", "I Wanna", "Gotta Get My Roll On", "Down On My Knees", and "Daddy's Home". CD features bonus tracks – "This Is How We Do It (Puff Daddy radio mix)" and "This Is How We Do It (Funkmaster Flex radio mix)". CD

A record that really helped push guitarist Ronny Jordan over the top – a set that took that sharp, clean sound that made him the 90s heir to the funky Grant Green sound – and updated it nicely with some help from DJ Krush! The record is one of the most successful blends of jazz and hip hop from the time – one of the few that really gets things right, and which knows when to lean into soul as well – and is maybe a key part of an early legacy that would later flourish in Blue Note projects from artists like Madlib and Robert Glasper! Titles include the killer "The Jackal (the illest mix)", which has Dana Bryant delivering a very hip spoken part – plus "S**t Goes Down (but I phunked up mix)", "Love I Never Had It So Good", "Season For Change (dawn of the season mix)", "Bad Brother (how ya like my wheel mix)", and a great remake of "So What (tuff n smooth mix)". LP, Vinyl record album

A great look at a really unique moment in fashion – a time when the mainstream trappings of ivy league styles were taken up by African-American cultural figures – a moment of cooption that led was key to a rising sense of pride and power in the postwar years! You'll instantly recognize the look from the image of Miles Davis on the cover – and Davis is one of the figures who gets focus in the book – alongside other jazz musicians like Billy Taylor and Sonny Rollins, writers like Amiri Baraka and James Baldwin, and civil rights icons like Martin Luther King and Malcolm X – all of whom wore button down shirts, well-crafted blazers, and hip skinny ties as they helped forge a whole new identity for black America in the 50s and 60s. The book is beautifully done – and ties together so many images we know from the press and record covers, mixed with others we're seeing here for the first time – all give thoughtful text along the way by British writer Jason Jules. The heavy, hardcover book is 224 pages in all – with color and black and white images throughout. Book

A sprawling extended album that had a bit of a legendary status before it was ever released – in part because Kanye West recorded part of the record in the Mercedes Benz Stadium in Atlanta while it was closed down during the pandemic! The set brings forward some of the spiritual themes of the album's predecessor, but also has some sharper hip hop edges overall – and some of the anger that reflects the changes that were taking place in Kanye's personal life at the time – reflected in a few of the album's more intense tracks, which are usually some of the best. Titles include "Jail", "God Breathed", "Hurricane", "Off The Grid", "Jonah", "Ok Ok", "Praise God", "Believe What I Say", "24", "Remote Control", "Moon", "Heaven & Hell", "Keep My Spirit Alive", "Donda", and "New Again". LP, Vinyl record album

A fantastic quintet session from this hip Japanese pianist – an artist we love for his work of the 70s, and who really takes off here in the company of two different saxophonists! The set's got a wonderfully open, spontaneous live feeling – as Fumio Karashima lays out these soaring modal lines on piano with help from Satsuku Kusi on bass and Nobuyuki Komatsu on drums – in a sound that's given very spirited accompaniment by reedmen Atsushi Ikeda and Masanori Okazaki – who have a wonderful way of working with the colors of the piano. Titles include the original "Friday Night" – plus long takes on "All The Things You Are", "Along Came Betty", "Summertime", and "Round Midnight". CD

Not as great as some of Keating's other work – which can be wonderfully goofy, or arranged in a hip swinging manner that pushes it way past the usual big band groove. Still, the record's not bad, and has some pretty tight playing by a well-selected group of Brit Easy players. Titles include "The Preacher", "Ticket To Ride", "Chihuahua", "My Kind Of Girl", and "Bee Bom". LP, Vinyl record album

"Dance To The Drummer's Beat" was real stormer in the South Bronx back in the day, and a great bit of uptempo funk with congas – the break and chorus are both great, and the single's like finding a page in the history of hip hop book! 12-inch, Vinyl record