An excellent bit of southern funk – very much in the early mode of Little Beaver, but with a sound that's even harder! James Knight is The Black Knight – leading a tight little combo with a raw funky 45 sound, heavy on the horns for backing, but with James' guitar right up front in the mix, jamming hard in a way that would have made Hendrix proud! The tracks are a mix of heavy funk numbers and more tripped-out jams – and Knight's vocals remind us a bit of Charles Wright in the old days, blaring out of the speakers with a bit of distortion and lots of soul, really driving home the quality of the songs. Titles include "Fantasy World", "Save Me", "Flyin High", "Funky Cat", "Uncle Joe", "Cotton Candy", and "Just My Love For You". CD

A prog classic from the Czech scene at the start of the 70s – music from a moment when things were really pushing the cultural barriers in the new freedoms of the time! Blue Effect blend core jamming with some larger arrangements that appear from time to time – all given a sense of power and majesty that really transcends the boundaries of language, soaring out with a vibe that's right up there with the best non-English work on the Euro scene at the time! The set was issued with translated lyrics in some territories, but this is the original album – with titles that include "Osamela Ulice", "Kamenne Blues", "Destivy Den", "Kde Je Ma Hvezda", "Fenix", and "Pamet Lasky". CD features 5 bonus tracks – including "Grave Of The Sun", "Life", and "Gray Hair". CD

Heady and heavy work from Billy Bond and La Pesada Del Rock & Roll – a guitar heavy group from Argentina, and one with plenty of blues rock overtones! The guitars are definitely turned up to 11 here – jamming with an intensity to match some of the best hard rock sides from Peru reissued by the Lazarus label in recent years – and like those sets, there's a sound here that's an intensification of earlier beat group modes – taken into much harder territory for the 70s. The production is great – earthy, trippy, and a little bit spooky – and the album's got an oddly unsettling feel, one that's familiar at first, but then increasingly estranged as the record moves on. Quite compelling, and with 16 tracks that include "Dueno De Tu Piel", "El Parque", "Buen Dia Senor Presidente", "Divertido Reventado", "Salgan Al Sol", "La Maquina", "Voy A Ver Un Amigo", "Para Que Nos Sirven", and "La Marcha De San Lorenzo". CD

An obscure Polish date from the great Gustav Brom – the Czech bandleader known for his great grooves for MPS and Supraphon! The styles here are something of a mixed bag – with some tunes that are straight swinging big band, mixed with a few others that show more of the jazz rock influence that Brom's become famous for over the years. Obviously, these latter tracks are the ones that really catch our ears – especially the funky "U Jazu Pod Mostem", which has a real MPS-like feel, and some great funky piano and sax – or "Malovane Sane", which has lots of electric guitar jamming around at the bottom of the groove! Other tracks include "American Patrol", "Chanson D'Amour", "Bogdan Boogie", and "Mahalia". CD

Great rare material from Clifford Brown's legendary days at Emarcy – tracks recorded as part of the Dinah Jams vocal sessions, but done in a much more extended jam session mode! Washington sings a bit on 2 of the tracks, but the main focus here is on Brownie working with a jamming set of instrumentalists that really open up on extended solo work. The album features 2 groups – one with the great Walter Benton on tenor, Herb Geller and Joe Maini on altos, and Kenny Drew on piano – the other with Clark Terry on trumpet, Geller on alto, Harold Land on tenor, and Junior Mance on piano – great lineups on both sessions! Tracks are long, very much in the "jams" feeling of the title – and titles include "Coronado", "I'll Remember April", and "Crazy He Calls Me". CD

A pair of King Jammy sets, both making their CD debut – and presented here with bonus tracks too! First up is The Exit – a stunning set from Dennis Brown, and the kind of record that shows why he was one of the most soulful singers of the early digital scene! King Jammy put the set together, and uses all these bits borrowed from dub, but in a sparing way – so that Dennis is allowed to step out strong, in a very straightforward way – crafting these wonderful vocals next to sweet electro bits and warmer rhythms – on titles that include "The Exit", "Too Late", "Dance All Night", "Tracks Of Life", "We Should Make Love", and "Material Girl". Added to the set is another great Jammy's production, but one that was never released at the time – the album Hold Your Corner, with vocals from Al Campbell – a mighty great singer, and one with a sweetly crackling style! Titles on that record include "Hot Love", "Big Wheel", "Equalise It", "Stop You Fussing & Fighting", and "Buss Them Shut". The CD also features four more Jammy's productions – on cuts that include "She's Done With It" and "I Love You" by The Mighty Rudo, and "She Only Want Something" and "Crucial Lover" by Leroy Smart. CD

The first four albums from this crucial group – along with four more CDs of rare live material too! First up is the self-titled Cactus – the first album from this legendary group – an important American hard rock powerhouse, driven by the famous rhythm duo of Tim Bogert on bass and Carmine Appice on drums – both of whom roll out of the gate here with amazingly frenetic energy! They're maybe only topped by the guitar work of Jim McCarty, whose searing lines are clearly learned from blues inspirations, then turned up in both speed and power – to match the vocals and harmonica of Rusty Day! There's nothing going on here that sounds like blues rock at all – even though the set begins with a cover of "Parchman Farm" – next to other titles that include "My Lady From South Of Detroit", "No Need To Worry", "You Can't Judge A Book By The Cover", and "Let Me Swim". On One Way Or Another, Cactus are totally at the top of their game – and the guitar of Jim McCarthy really sets the record on fire, right from the very first note – at a level that should have made Jim one of the real guitar hero legends of his generation! Yet there's also power from the whole group going on too – tight rhythms from the team of Carmine Appice and Jim Bogert, the latter of whom starts to bring in his own vocals a fair bit more, offering backup to the raspy lead of Rusty Day. And while there's a few currents that show their older influence from blues, the sound here is massively hard rock all the way through – making the record a great illustration of the way that slavish blues rock gave birth to a fresh new jamming sound in a matter of just a few short years. Titles include "Rockout Whatever You Feel Like", "Song For Aries", "Feel So Bad", "Rock N Roll Children", and "Hometown Bust". Restrictions is next, and despite the title, there's no restrictions at all – as Cactus seem to be even more confident, more able to stretch their wings and fly than ever before – even adding in some extra piano and keyboards at points to the core guitar-heavy sound of the quartet! All the group's best elements are very firmly in place – searing guitar, righteously confident vocals, and a strutting sensibility that makes this early 70s album way ahead of the game in terms of territory that so many bigger groups would later copy for their own classic records. Titles include "Guiltless Glider", "Evil Alaska", "Sweet Sixteen", "Bag Drag", "Restrictions", and "Mean Night In Cleveland". Ot N Sweaty is a record that's got a bit of a shift in the classic Cactus lineup – as the group's still driven strongly by the work of Carmine Appice on drums and Tim Bogert on bass, but get guitar power from Werner Fritzschings, who's a pretty amazing player – next to some added keyboards from Duane Hitchings, and vocals from Peter French – a singer who's ballsy power might be even more in line with the group than their previous lead singer! The album's got an unusual approach in that side one was recorded live, side two in the studio – each with a nicely different flavor as a result – on titles that include "Swim", "Our Lil Rock N Roll Thing", "Bedroom Mazurka", "Telling You", "Bad Stuff", and "Bringing Me Down". 8CD set is overflowing with great material – bonus tracks added to three of the four albums in the collection, than a further 4CDs worth of live material – titled Fully Unleashed – The Live Gigs Vols 1 & 2. The live material is great – and really shows the tightness of the group at their best! CD

One of the most striking Ornette Coleman albums of the 60s – a set that came together because of an odd regulation, but which also resulted in some really wonderful music as well! The record documents a 1965 London concert by Ornette – but, in order to get a visa to visit the UK, Coleman had to come across as a "serious musician" – so he works here with a very cool wind quartet that features added flute, oboe, clarinet, and bassoon! This group joins Ornette on a reading of his fantastic Sounds & Forms – then steps back to allow more familiar jamming by Coleman's wonderful trio that featured Charles Mofett on percussion and David Izenzon on double bass. Ornette also plays some amazing violin, in addition to his usual alto, and a bit of trumpet – and titles include "Forms and Sounds For Wind Quintet", plus shorter tracks like "Dough Nuts", "Happy Fool", "Clergyman's Dream", "Silence", and "Falling Stars". CD

A spiritual jazz classic from Detroit – and one of the few records from this important Motor City group! The Contemporary Jazz Quintet were a groundbreaking ensemble that mixed together hardbop and modernist playing – sometimes with a keen ear for Miles Davis' experiments of the late 60s, but also with an underground Detroit flavor that's well in keeping with that city's rich traditions! The group was ostensibly led by pianist Kenny Cox – and it's his name that their two Blue Note albums were issued under – but on this rare third set from the Detroit-based Strata label, the group appears more as a larger collective with an even more freewheeling vibe – a lineup that includes Cox on piano, Charles Moore on trumpet, Leon Henderson on tenor, Ron Brooks on bass, Charles Eubanks on electric piano, and Ron English on guitar. Tracks are long, with a stretched-out pre-Bitches Brew sound – plus some freer avant jamming – and titles include "Noh Word", "Bang", "Tao", and "Nguzo Saba". CD

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

A record that's virtually the blueprint for the sound of Hammond organ and tenor sax in soul jazz– the first of Eddie Lockjaw Davis' great run of cookbook albums for Prestige! The record features Lockjaw's gutsy tenor in a group alongside Jerome Richardson's lighter flute – both dancing wonderfully together over organ lines from a young Shirley Scott – playing here with a style that's a bit earthier and more bluesy than some of her later work. Rhythm is by George Duviver on bass and Arthur Edgehill on drums – and tracks include the classic 12 minute jammer "In The Kitchen", plus shorter tracks "Three Deuces", "The Chef", and "Have Horn, Will Blow". CD features bonus track "Avalon". CD

Messed-up funky jazz from an obscure early 70s UK group – and an album that really lives up to its trippy cover! The tracks are all long and stretched out – with lots of organ, sax, and spaced out drums – and the overall style is a mix of dub-heavy funk, Afro jazz, and a bit of jazz rock jamming! There's a bit of vocals on the album, but overall most of the set is instrumental – in a really right on and progressive style that we totally love. This is the kind of record that always got passed by in the 80s when everyone was looking for hard James Brown grooves, but which is very much in fashion now with the blunted funky crowd. Cuts include "Hymn To Mother Earth", "Another Country", "Disillusioned Man", and "Mercy (Variation No. 1)" – plus bonus tracks "Fuzz Oriental Blues", "I Put A Spell On You", and "Message To Mankind". CD

An incredible album from Dinosaur L – the legendary New York dancefloor project of Arthur Russell! – fleshed out and expanded more than ever before by Sleeping Bag and Get On Down Records! The group's core sound is a punky, funky, chunky amalgam of bass thumping, guitar riffing, keyboard filling, and sax honking – all very much in the spirit of Russell's best quirky club work of the time, but with the added sound here of a more expanded approach – one that takes the tunes in a whole new territory than the more famous 12" singles! The tracks on the original set were simply numbered – "1", "2", "3", and so on – and come across almost as free-jamming instrumentals – but this reissue appends the songs with their 12" titles, so "#1" gets parenthetically entitled "You're Gonna Be Clean On Your Bean" and "#5" as "Go Bang!", plus this disc adds several 12" versions that were not on the original LP release, like Francois K's mix of 'Go Bang!" and Larry Levan's mix of "In The Corn Belt". Totally great stuff – as experimental as it is funky! This 2CD box set edition is amazing – coming in a heavy-duty box with each disc in an oversized gatefold style sleeve – and it includes more Arthur Russell collaborative and/or pseudonymous material for Sleeping Bag with or as Bonzo Goes To Washington, Felix, Sounds Of JHS Brooklyn and Indian Ocean. Other tracks include "School Bell/Treehouse" (Indian Ocean), "You Can't Hold Me Down (Extended Version)" (Felix), "5 Minutes (R-r-r Radio Mix)" (Bonzo Goes To Washington) and more. Also includes a nice booklet of photos, artwork and artist testimonials – plus notes by Russell biographer Tim Lawrence. CD

Julie Driscoll's come a long way from her years with Brian Auger here – stepping out in a freer sound that marks the shift in the British scene from beat group grooving to jazz-rock jamming. The session features a host of likely suspects from that hip side of the scene where avant jazz and rock merge – a lineup that includes Keith Tippett on piano, Elton Dean on saxes, Chris Spedding and Brian Godding on guitars, and Nick Evans on trombone – and Julie's vocal style is finely tuned to match the craft of the players on the set, with with fantastically deft twist and turns! She's a lot more open-ended in her singing, with less of the R&B inspired approaches of the late 60s, and more of the expansive vocalizations that were showing up in the work of other European vocalists of the 70s. Titles include "Leaving It All Behind", "Break-Out", "A New Awakening", "Walk Down", and "I Nearly Forgot – But I Went Back". CD

Poland's Ergo Band are a tight combo with a great ear for a groove – sometimes funky in sort of an Average White Band way, sometimes a bit harder jamming, like some of their Eastern Bloc contemporaries! And here, they're joined by singer Grzyna Lobaszewska – who sings on a good number of tracks on the set, in a way that really helps the band find their focus – keeping things in more of a rhythmic mode when Grzyna's singing, so that there's some surprising elements of soul in the music – even though the lyrics themselves are in Polish! The AWB comparison is definitely a good one for the way the group blend great drums, riffing guitar, and horns – and titles include "15 Minut Spozienia", "Nocny Spacer", "A Wiec", "Dzien Jak Blues", "Gdybys", and "Piesn Dla Ciebie". CD features an unreleased live take on the Quincy Jones tune "Boogie Joe The Grinder". CD

A deep dive into the genius of Faust – material recorded by the groundbreaking experimental collective at their home base during the early 70s, none of issued at the time! The work here stands as a seminal addendum to the too-small catalog of the group's material from these days – and the sounds within really show Faust at their most creative – moving through the kind of sonic territory that you'd know from their records, but presented here as if you've discovered an album that you somehow passed by! Some tracks are spare and moody, others driving and jamming – and throughout the material, Faust show that really unique ear for mixing live instrumentation and studio experimentation – all at a level that was very much their own, even in the heady company of the Krautrock generation. The material was originally part of the expensive Faust box set, but is presented here as a standalone release – and titles on volume two include "Danach", "Lampe An Tur Zu Leutte Rein", "Wir Wollen Mehr Volumen Kriegen", "Arrampicarsi Sul Vesuvio", "As Tu Vu Mon Ombre", "Ma Trompette", and "Dampf". CD

A killer album of soul jazz piano instrumentals – produced by James Brown! The Dee Felice Trio were a groovy combo from Cincinnati, and James Brown took a shine to them at some point in the late 60s. They backed James on one record, but their big moment was this album – which had James producing, and the group grooving nicely on some hard piano jammers! The sound's a lot more stripped-down than usual for James, but the groove is very nice! Includes an excellent funky version of "There Was A Time", a great cover of Marcos Valle's "Crickets Sing For Anamaria", and the tracks "Summer In The City", "In Heat", "Both Sides Now", and "Never". Features 3 bonus tracks too – "Nightingale", "Little Liza Jane", and "There Was A Time (single version)". CD

One of the best-ever documents of the young genius of tenorist Wardell Gray – exactly the kind of music that shows why he was one of the biggest and best of the bop saxophonists – before he was taken away from us all too soon! The material here was originally issued on 78s or 45s, and comes together as a great full length representation of Gray at his best – and on this second volume, Wardell works in some bigger groups on great long tracks with a nicely jamming feel! Players include Sonny Criss on alto, Art Farmer and Clark Terry on trumpet, Dexter Gordon on tenor, and Hampton Hawes on piano – and titles include "Move", "Scrapple From The Apple", "Lover", "Farmer's Market", "April Skies", "Jackie", and "Sweet & Lovely". CD

A funky nugget from the second Blue Note chapter of guitarist Grant Green – that wonderful point when he shifted into more funk-based styles from his hardbop work at the start – and found a way to unlock a whole new side of his talents! The approach here is similar to some of the funky Lou Donaldson albums from the time – like Hot Dog or Say It Loud – in that tracks are nice and long, and have some great funky currents at the bottom from the drums of Idris Muhammad – who kicks up lots of those chunky funky breaks that we always love so much! Green's work on guitar is especially nice – stretched out, but never trippy, with a tight single note style that really gets the most out of the grooves – in a great lineup that features Blue Mitchell on trumpet, Claude Bartee on tenor, Emanuel Riggins on Hammond, Jimmy Lewis on bass, and Candido on congas. Neal Creque contributed two great tracks to the set – "Windjammer" and "Dracula" – and the album also sports a great long version of James Brown's "Ain't It Funky Now", and a sweet cover of "A Day In The Life"! CD

A funky nugget from the second Blue Note chapter of guitarist Grant Green – that wonderful point when he shifted into more funk-based styles from his hardbop work at the start – and found a way to unlock a whole new side of his talents! The approach here is similar to some of the funky Lou Donaldson albums from the time – like Hot Dog or Say It Loud – in that tracks are nice and long, and have some great funky currents at the bottom from the drums of Idris Muhammad – who kicks up lots of those chunky funky breaks that we always love so much! Green's work on guitar is especially nice – stretched out, but never trippy, with a tight single note style that really gets the most out of the grooves – in a great lineup that features Blue Mitchell on trumpet, Claude Bartee on tenor, Emanuel Riggins on Hammond, Jimmy Lewis on bass, and Candido on congas. Neal Creque contributed two great tracks to the set – "Windjammer" and "Dracula" – and the album also sports a great long version of James Brown's "Ain't It Funky Now", and a sweet cover of "A Day In The Life"! CD

A soaring set from guitarist Grant Green – a really amazing double-length set that caps off his legendary run for Blue Note – done with a vibe that's different than most of his other work for the label! Like some of the other Lighthouse sessions from Blue Note – particularly those from Lee Morgan and Elvin Jones – this one has a very open, free vibe – a way of stretching out on the tracks, yet still staying soulful – all an amazing document of the rich talents of the leader in a live setting! The group's a bit unique, too – and features Gary Coleman on vibes, Shelton Laster on organ, Claude Bartee on tenor and soprano sax, Wilton Felder on bass, and Greg Williams on drums – all players who hit this hip Cali groove with Green – and really take off on cuts that include versions of Donald Byrd's "Fancy Free", Neal Creque's "Windjammer", and The Fabulous Counts' "Jan Jan" – plus the cuts "Flood In Franklin Park", "Walk In The Night", and "Betcha By Golly Wow". CD

The fantastic debut of Gypsy – a group who blend wonderful harmonies with really well-crafted inspiration – very much in the jazz-inspired jamming of some of the headier California groups, like Spirit or Santana at their best! The group use a swirling blend of organ and guitar next to their really beautiful vocals – warm and sweet at some of the best moments, but never in a way that ever feels like soft rock – given the intensity of the instrumentation! The album was issued on the Metromedia label, and never got the attention it would have deserved had it hit the racks from a company like Columbia or Warner – but it's every bit as great as some of their giants from the time, with titles that include "Last December", "Man Of Reason", "Third Eye", "Tomorrow Is The Last To Be Heard", "Here In My Loneliness", "Dead & Gone", "Dream If You Can", "Decisions", and "Gypsy Queen". CD

One more amazing chapter in the mighty development of drummer Chico Hamilton – a killer 70s session for Blue Note – and a record that goes way beyond his earlier experiments of the 50s, modal grooves of the 60s, and funk work for the Flying Dutchman label! The style here is fusion, but way fresher than the usual type – neither jamming rock-styled, nor mellow and smooth – and instead always tickled by Hamilton's sense of a unique rhythm, and his continued great ear for inventive use of reeds – in this case handled by Arthur Blythe on alto and Arnie Lawrence on soprano and tenor sax. The set's also got Steve Turre on bass and trombone, and both Barry Finnerty and Joe Beck on electric guitars – but the real genius is Chico himself, who handled arrangements and wrote most of the album's great tracks. Titles include the exotic number "Abdullah & Abraham" – plus "Andy's Walk", "Peregrinations", "It's About That Time", "Sweet Dreams", "On & Off", "Little Lisa", and "Space For Stacy". CD

Massive work from Johnny Hammond – stretching out here in some totally jamming grooves that really transform his style for the 70s! The sound here is a lot hipper and tighter than some of Hammond's more rough-edged soul jazz of the 60s – a groove that's a great precursor to his more famous meetings with Larry Mizell a few years later – and equally great! Johnny's got plenty of space here – and is really taking his time with the grooves, thanks to some open ended arrangements by Bob James, who also plays electric piano on the record! The record is a seminal piece of work in the transformation of the chunky 60s organ sound to a sweeter 70s keyboard groove – and was proof that Johnny, more than most of his 60s soul jazz contemporaries, was ready to embrace the new sounds of the decade with open arms. Includes the great sample cut "Big Sur Suite" – plus "Higher Ground", "Summertime/The Ghetto", and "Catch My Soul". CD

Killer work from one of the funkiest leaders on the Chicago scene – the mighty mighty Willie Henderson, force behind some of the city's greatest soul tracks and funky 45s! This album's like a stack of lost funky nuggets laid back to back – with lots and lots of bass-heavy grooving from the band, and plenty of instrumental riffing on guitar and horns! Most tracks are instrumental, but often feature some nice shouted or spoken bits – and the whole thing's stuffed to the rafters with great breaks, beats, and grooves! Titles include "Funky Chicken (parts 1 & 2)", "Off Into A Black Thing", "Soulful Football", "Sugar Sugar", "Can I Change My Mind", and "Is It Something You Got". This CD is overflowing with great bonus cuts too – 7 more numbers that include "The Whole Thing", "Loose Booty", "Harlem", "Break Your Back", "Windjammer", and two untitled instrumentals! CD

The album that rocked a million dorm rooms back in the 60s – and for good reason, too – given that the title track is a side-long, totally jamming monster – the kind of track that was really revolutionary at the time, and which still has a hell of an impact all these many years later! "In A Gadda Da Vida" was shortened to a single – with the big hook intact – but this classic album version runs for 17 minutes in length, and has the group doing all these cool jams with their instruments – all the animals in the garden of Eden talking to each other (or at least that's what our addled teenaged minds always thought!) Shorter tracks are mighty nice too – a heady, heavy brew of Hammond and fierce guitar from Erik Brann, on cuts all penned by group leader Doug Ingle. Titles include "Termination", "My Mirage", "Flowers & Roses", and "Most Anything You Want". CD

One of the hippest jazz groups going in Czechoslovakia during the 70s – the mighty Jazz Q, a cool fusion combo who really knew how to groove! The group's lineup includes a lot of electric keyboards and guitars – and while some tracks have them jamming out in a really rock-inspired way, there's some other tunes that open up with a great jazzy sound. Side two of the album kicks off with an amazing modal groover called "The Wizard" – a cut that builds and builds on riffs of bass, conga, and keyboards – before soaring into a sweet female lead vocal that sounds like Lani Hall at her best! Other tracks include "Lost Soul", "Starbird", "From Dark To Light", and "Epilog". CD features two bonus tracks – "Mlyn" and "Konstelace". CD

One of the most fantastic albums by the JBs – a masterpiece of funky jamming, tight instrumentation, and that free yet tight style of the James Brown 70s years! The tracks are longer than on some of the earlier singles – especially the 8 minute jammer "(It's Not The Express) It's the JBs Monourail", an answer to BT Express' theme song, and a fantastic cut that's held up through so many years and so many scenes! Another great jammer is the group's version of "Thank You For Letting Me Be Myself", which runs for nearly 10 minutes – plus spacey funk tracks "Transmogrification" and "Taurus, Aires, & Leo", and the tighter jammer "Soul Funky Train", which returns to the group's funky 45 mode. Fantastic all around – and the kind of record you'll be playing for your grandkids! CD

Amazing work from Kool & The Gang – from a period when they were pushing past their tight early funky sound, into a super-dope mix of electronics and spacey jamming that is still pretty darn revolutionary today! Although you might think the album would be a bit disco by the date, it's not – and instead has the group moving more towards a style of cosmic righteousness that was undoubtedly influenced by the early work (and success) of Earth, Wind, & Fire. The album has a few live cuts - including an amazing 8 minute long live version of "Summer Madness", with an extended keyboard solo that's just great! Other titles include "Cosmic Energy", "Do It Right Now", "Universal Sound", and a remake of "Hollywood Swinging". CD

A standout set from keyboardist Neil Larsen – a record that crossed over big back in the 70s, and which still sounds pretty darn great in the 21st Century! Larsen's keys here are kind of a more mainstream take on territory Bob James was exploring a few years before – arguably hipper at this point that some of James' own recordings, and recorded in a relatively lean setting with guitar, bass, drums, and percussion – plus a bit of tenor or trumpet from time to time. The keyboards glide along gently on the spacey numbers, and get a bit more bite on some of the funkier ones – always with a good sense of space that means that Neil's never jamming too much, or getting in the way of his groove. Titles include the classic "Sudden Samba" – plus "Jungle Fever", "Red Desert", "Emerald City", "Last Tango In Paris", "Windsong", and "Promenade". CD

A huge crossover album from Carrie Lucas – maybe not the most soulful singer of the disco scene of the 70s, but one who really does a great job of putting over the music here! At times, Carrie's got this breathy style that's quite compelling – a more personal quality that's different than someone trying to fake a bit of soul – all handled perfectly by Dick Griffey – the Solar Records genius who produced the album! Also, the record's also got some good arrangements by Jerry Peters, who always knows how to give a soul track a different sort of edge – one of the overlooked geniuses of his generation. The best cuts have a strong "free soul" pop groove – and tracks include "Me For You", "I Gotta Keep Dancin", "Tender", "Jammin Tenderly", "I'll Close Loves Door", and "What's The Question". CD features bonus tracks – "Keep Smilin (orig 12" Rick Gianatos rmx)" plus original single versions of "I Gotta Keep Dancin" and "I Gotta Get Away From Your Love". CD

A killer set of electric keyboards – with a groove that stretches from wigged-out Herbie Hancock to the laidback style of Bob James on CTI! Mikio Masuda plays a range of different instruments – from Fender Rhodes to Clavinet, Yamaha organ, ARP, and mini-Korg – and the group behind him includes guitar, bass, drums, soprano sax, and lots of percussion – all jamming together on the fiercest tracks like a full-on version of The Headhunters! Tracks are all long, and the album's proof that Japan was turning out some amazing electric jazz albums in the 70s – real classics that stand with the best from America at the time. Titles include "Hello Jess", "What's Happening", "I Saw The Light", and "Airplane". CD

An ambitious little set from Christian McBride – one that brings together 3CDs of music recorded over 2 nights of performance – all in a mode that shows McBride picking up plenty of funky touches! The group here features Geoffrey Keezer on keyboards, Ron Blake on saxes, and Terreon Gully on drums – really hitting the kit with a pounding intensity to match McBride's pulsating work on both acoustic and electric basses – jamming here a lot strongly than we remember from other studio sides. The expanded package is presented (amazingly) at the same price as a regular CD – and offers plenty of long tracks to really hear this great band stretch out in a space that's nicely between conventional jazz and some of the looser modes of the jamband underground. Guest appearances include Charlie Hunter, DJ Logic, Scratch, Eric Krasno, and Jason Moran – and titles include "Say Something", "Clerow's Flipped", "Lejos De Usted", "Sonic Tonic", "Hibiscus", "Sitting On A Cloud", "Mwandishi Outcome Jam", "Lower East Side", "See Jam Hear Jam Feel Jam", "E Jam", and "D Shuffle Jam". Lots of jams! CD

At the height of his success, Pat tries to prove to the world that he's still got cred – and hooks up with Ornette, Charlie Haden, and Denardo Coleman for a little bit of harmelodic jamming. Thing is, we actually liked the slick stuff better! Titles include "Mob Job", "Video Games", "Song X Duo", and "Long Time No See". CD

Two killers from drummer Buddy Miles – back to back in a single set! First up is Buddy Miles Live – a really searing set of live performances from 1971, often done in a way that has the band stretching out and jamming heavily! The core group seems a bit bigger than usual – with a lineup that includes guitar and organ alongside some heavier tenor, alto, trumpet, and trombone. The horns come on strong, but are offset by lots of searing guitar from Charlie Karp – and Buddy, as usual, is a real monster on the drum kit. There's plenty of instrumental moments here that cook with funky soul intensity – and titles include "Wrap It Up", "Joe Tex", "Take It Off Him & Put It On Me", "Down By The River", "Place Over There", "The Segment", and "Them Changes". Message To The People is a really fantastic album from drummer Buddy Miles – an artist that many folks know for his key rock work in the Band Of Gypsys group of Jimi Hendrix, but a musician with an equally great ear for soul and funk as well! Miles began in Electric Flag, and certainly has ties to the world of psych – and here, he mixes funkier currents with lots of strong trippy guitar from Marlo Henderson – a player we don't know that well, but who adds some great lines that are a lot like some of the Phil Upchurch contributions over at Chess/Cadet at the same time. Miles sings on most numbers, with that nicely honest vocal approach we love so much – but there's a few instrumental moments too, and the set's got some great use of horns throughout, which brings in some southern funky currents too. Titles include "Joe Tex", "Place Over There", "The Segment", "Don't Keep Me Wondering", "Sudden Stop", and "That's The Way Life Is". CD

Lots of funky keys and choppy sax passages – on this sweet Japanese fusion session headed up by reedman Kohsuke Mine! Mine plays both soprano and tenor on the record, and it's got a feel that's halfway between some of the harder jamming European fusion sides of the 70s – like mid 70s electric groovers on MPS – and some of the more cosmic Japanese sides of the same time – those more tripped-out records that had a relaxed, soulful approach to the music. The group also features Mikio Masuda on some great keyboards, plus Hiroshi Yasukawa on guitar – and the album's got 4 long tracks – each over 10 minutes long – and titles include "We Got Our Dance", "Expectation", "Sunshower", and "I Know Where You Come From". CD

Never-heard live work from the legendary Junie Morrison – a funky legend who worked both in the Ohio Players and in the P-Funk empire of George Clinton – heard here in a smoking live setting in Michigan, right around the time of his classic solo records for Westbound! The format is great – really open and freewheeling, and nicely different than some of Junie's records in the studio – as Junie works with the Crowd Pleasers group, in a blistering blend of funk, soul, and jazz – with solos that evoke some of the latter, and which remind us of the unearthed Lyman Woodard concerts from around the same time! Tracks are mostly nice and long, very jamming – and the small combo vibe is a really different change from some of the arena funk of the period. Titles include a great version of Junie's classic "Granny's Funky Rolls Royce" – plus "Super J", "Tight Rope/Super Groupie", "Shakey Ground", "Fopp", "Musical Son", "Oh Me Oh My", "Surrender", and an Ohio Players medley of "Pain/Cookies Will Get You/Pleasure/Ecstasy". CD

We've been following the music of Carlos Nino for many years, and during that time he's never failed to take us on an amazing journey – yet despite that legacy, this set may well be his most visionary record in years – a tremendous summation of ideas that have been brimming around the edges of some of his more subtle projects, really given focus, and set off into some great new directions! Make no mistake, this is no all-out jamming session – Carlos is hardly "on fire" – yet his creativity burns with a new sensibility that's wonderful, as he opens the door for a lineup of guests that includes heavyweights like Kamasi Washington, Jamael Dean, Andre 3000, and Laraaji – while still acting very strongly as the spiritual leader of the whole proceedings! The music is seeded with wisdom and knowledge throughout – and titles include "One For Derf", "Woo Acknowledgement", "Spacial", "Am I Dreaming", "Mighty Stillness", "Flutestargate", and "Maha Rose North". CD

Heavy-jamming Afro Funk from Osibisa – the group's first 2 albums, back to back in one 2 CD package! Osibisa were one of the most popular Afro Funk groups of their generation – with a globe-spanning influence that made them as well-received over here in the US as they were in their post-colonial UK home. The sound on both sets is great – and captures the group at their raw early best – when they were mostly fusing together bits of jazz and soul with African rhythms, and going for a groove that was lightly playful, and infused with a strong sense of joy and celebration! Titles include "Oranges", "Akwaaba", "Ayiko Bia", "The Dawn", "Y Sharp", "Survival", "Move On", "Rabiatu", and the group's classic "Music For Gong Gong". CD

George Clinton may have pretty well disbanded Parliament and Funkadelic by the time the 80s came around, but the Mothership is still soaring highly on this first album from the P-Funk All Stars project – featuring some (but not all) of George Clinton's better players from various groups! Urban Dancefloor Guerillas his a pretty great little set of jammed-up cuts produced by Clinton, Bootsy, Gary Shider, and Sly Stewart. The flame was still burning, even in the "dark years" of the litigious early 80s – on a set that's actually a bit more stylistically diverse than some the related projects, though unified by never wavering funk! Titles include "Copy Cat", "Pumpin' It Up", "Catch A Keeper", and "Generator Pop". CD

An incredible collaboration between pianist Eddie Palmieri and vibist Cal Tajder – a record done for Tico in answer to their previous session for Verve – and a set that's even harder-jamming overall! Cal and Eddie really find something special together on the record – and both players groove into a descarga mode that burns even more strongly than their own other work of the decade – a masterful jam that's a really true collaboration, and which brings out the best that both musicians had to offer. Cal's moving way beyond his familiar modes here – with a fluid, freely colorful sound – and Eddie himself is beginning to hit some of the darker, harder notes that would show up even more strongly on his records of the 70s. There's a much more strongly jazz-based sound here than most of Palmieri's previous records – a really bold focus on the instrumentation as it rolls out over some great modally-informed grooves – and titles include "Bamboleate", "Resemblance", "Guajira Candela", "Mi Montuno", and "Come An Get It". CD

Although these days, Parliament's best remembered for their classic studio albums, back in the 70s, the real P-Funk experience was the incredible live shows served up by George Clinton and the group! George, Bootsy, and the rest were undeniably at the top of their game at the time – rolling into cities and taking them by storm with their space-themed sets, wild costumes, and intense ability to jam live with a force that even blew away their records! This double live set is a great document of the P-Funk sound of the time – and features some great tunes from mid 70s Parliament, served up in modes that range from straight to very long and drawn out. Titles include "Give Up The Funk", "Get Off Your Ass & Jam", "Night Of The Thumpasorous Peoples", "Let's Take It To The Stage", and "Gamin' On Ya!" – all done with the sort of live jamming feel that made their shows go on forever and groove all night long. CD

This is the one that really nailed it for Jaco Pastorious – a brilliant showcase for all his many talents on the bass, and a key illustration of the way that he influenced an entire generation! Sure, Jaco in Weather Report was already pretty darn great – but here, on his own, he really gets to sparkle – jamming hard with heavyweights on some funky numbers, sliding out in spacey territory on mellow cuts, and even trying out a few more experimental moments that are far beyond what most other bassists might imagine for a debut of this nature. Players on the date include Herbie Hancock on keyboards, Don Alias on percussion, Lenny White on drums, Hubert Laws on flute, and Randy Brecker on trumpet – and titles include "Portrait Of Tracy", "Donna Lee", "Continuum", "Okonkole Y Trompa", "Kuru/Speak Like a Child", "Opus Pocus", and "Come On Come Over". CD

Raw soul from the second Piano Slim – Willard Burton of Houston, who's heard here on some killer tracks from the start of the 60s! Slim's definitely got some blues in the way he approaches the piano, but the productions here are more soul-based and R&B-styled overall – often in ways that make use of his piano and vocals with the kind of hard-edged, socking soul modes you'd be more likely to hear from the New Orleans scene of the time – although Slim's also got plenty of Texas grit in his grooves! Some numbers are instrumentals, many have vocals – and the collection brings together early singles and a number of unreleased tracks – with titles that include "Spinning Top (parts 1 & 2)", "Sadie Hawkins Day", "Do It Now", "Look At Grandma Watusi", "Lot Of Shakin Lot Of Jivin", "Key Jammer", "Ennis Lee", and "Mister Twister". CD

Seminal sounds from Placebo – one of the hippest electric groups going on the European scene of the early 70s, thanks to some great keyboards and electronics from the legendary Marc Moulin! Placebo's sound here is a unique approach to funky jazz – one that certainly draws from the electric modes of the American scene, and without any of the jamming elements of other Euro fusion groups – but there's also a touch of rockish inflection at points too – especially in the way the rhythms have a tightly pulsating groove. There's none of the indulgence of prog, but there's definitely a lineage going on somewhere in the mix too – and in addition to Moulin's keyboards, the group also features great horns from Nick Fissette, Alex Socrier, and Richard Rousselet. Titles include "Bolkwush", "Temse", "Balek", "Phalene", "Re-Union", and "Only Nineteen". CD

Quite possibly the funkiest album ever from Pleasure – and that's saying a heck of a lot! The album grooves from the very first note – and moves through some of the group's tightest, most rock-solid numbers – all of which use their trademark blend of funky and soul, but which somehow seem to hit even more perfect territory than previous albums! And yes, those records are great, but usually have a few standout cuts – while this one works together perfectly – leading us in right away, then holding us rapt through some wonderful cuts that never let up – massive energy that few other funky combos could match, produced to perfection by the legendary Wayne Henderson. Titles include the wicked sample cut "I'm Mad", the bouncy "Pleasure For Your Pleasure", the spacey "Ghettos Of The Mind", the bumping "Let's Dance", and the tracks "Jammin With Pleasure", "Theme For The Moonchild", "2 For 1", "We Have So Much", and "The Love Of My Life". CD

Very cool work from Psi – a hip 70s German group who were partly fusion, partly prog – in that special sort of blend shared by a rare few contemporaries – such as Embryo, Perigeo, or Zzebra! As with all three of those groups, the musicians here are clearly schooled in jazz, but also really want to open up in some of the freedoms explored by the long-haired younger generation – not in an avant way, but in a style that mixes some funky currents in the rhythms with more freewheeling solos and the occasional jamming passage – served up by a quintet lineup that includes loads of wonderful keyboards, plus tenor, guitar, bass, drums, and percussion! There's no vocals at all on the record – no need, as the instruments speak volumes – and titles include "Elektrische Kall Heinzje", "Horizonte", "Under Der Schurze Liegt Die Wurze", and "Bettgerausche". CD

A perfect example of the jamming style of Quicksilver Messenger Service at their best – as side one features a 25 minute extrapolation of Bo Diddley's "Who Do You Love", stretched out by the group into these wicked long guitar lines and pulsating rhythms that shift nicely over time! Bo's a surprising inspiration for a group that's better known for their psych output – but their use of that track, and his "Mona", on the live recordings here really helps carve a link out of two different generations of guitar innovation – and suddenly helps us understand links between them both. The set continues with some great original numbers – the very long "Calvary", plus "Maiden Of The Cancer Moon" – as well as a cover of "Happy Trails". CD

One of the hardest-jamming Return To Forever albums – recorded with the post-Brazilian lineup that includes Chick Corea on keyboards, Stanley Clarke on bass, Lenny White on percussion, and Al DiMeola on guitars. Corea's very firmly in the lead – stretching out in heavy keyboard romps that really take off into space – propelled by fierce drums from White, heavy bass from Clarke, and a bit of tippling guitar from DiMeola. We kind of miss the subtlety of Airto's percussion, and the beautiful vocals of Flora – but the overall sound's still pretty wonderful and we do like the spaced-out keyboard touches! Titles include "Soceress", "The Romantic Warrior", "The Magician", and "Majestic Dance". CD

Freaky keyboards and fuzzy saxophone – played by the team of Dieter Seelow and Peter Mayer, working here in a rare bit of funk from the early 70s German scene! The record's got a sound that's very much in the madder side of the MPS spectrum at the time – jazz influenced by a bit of fuzzier rock elements – heard to good effect on Seelow's amplified, processed saxophone lines – and on some of the heavier organ moments from Mayer. The sound is wide-open, but never too free or jamming – clearly inspired by the hipper American soul jazz of the late 60s – the side of the scene that started with electric Eddie Harris, and moved into weirder Melvin Jackson moments – both players who are a good comparison here, as the groove definitely shows a love of the electrified music that Harris and Jackson made together. Remaining instrumentation includes electric bass and drums – so the overall sound is quite spare – and titles include the massive three-part "Mr Dynamite", plus "Masquerade","Danny's Walk", "The Swinger From Rio", and "With A Little Help From My Friends". CD

The near-complete Salsoul recordings of Skyy – the funky club combo headed by Randy Muller after his work with BT Express and Brass Construction! With Skyy, Muller honed his groove even more than before – creating a really tight focus on bass-heavy bottoms, and focusing all instruments in the group into a solidly soaring sound that showed that funk was alive and well on the dancefloor – even well into the disco years! This massively overstuffed 4CD package features all the titles from Skyy's 7 albums from Salsoul – plus bonus tracks from 12" singles too! Set features great notes, and the full albums Skyy, Skyyway, Skyyport, Skylline, Skyyjammer, Skyllight, and Inner City – and bonus cuts include "First Time Around (12" version)", "Skyyzoo (12" version)", "Let's Celebrate (12" version)", "Call Me (7" version)", "Bad Boy (12" version)", and "Because Of You (JM after session M&M mix)". CD

The mighty Lonnie Liston Smith live – sounding every bit as great as he did on his famous studio sessions from the 70s – and maybe even more freewheeling too! The feel of the record is really tremendous – extremely soulful, with Lonnie jamming away on keyboards as the band grooves up these cool spacey rhythms – stepping out in territory that's definitely the more cosmic side of jazz funk, with those righteous currents that always made Lonnie so great. The whole thing's wonderful – with loads of great electric work, and an overall spiritual vibe that's every bit as great as his albums for Flying Dutchman – and players include Donald Smith on flute and a bit of vocals, Dave Hubbard on tenor and soprano sax, and Lonnie himself on Fender Rhodes, clavinet, and Arp. The set includes a nice extended take on "Visions of A New World", plus the tracks "Watercolors", "Sorceress" – which isn't on any of his studio albums, "Prelude", and the classic "Expansions". CD

Excellent work by Lonnie Smith – a free-flowing album of long jazzy grooves that's kind of an extension of his Blue Note albums, touched with more of the electricity of his 70s playing! There's some killer rhythms on the album – courtesy of drummers Jamey Hudad and Ben Riley, and electric bassists Ron Carter and Ralphe Armstrong – and Lonnie's on organ grooving alongside a young Joe Lovano, who plays some killer tenor and soprano sax – and the album's got these really long, open cuts that definitely hint at the more spiritual look of the cover. Titles include the 15 minute jammer "Spirits Free", plus "Afrodesia", "Favors", "Straight To The Point", and "The Awakening". CD

Excellent work by Lonnie Smith – a free-flowing album of long jazzy grooves that's kind of an extension of his Blue Note albums, touched with more of the electricity of his 70s playing! There's some killer rhythms on the album – courtesy of drummers Jamey Hudad and Ben Riley, and electric bassists Ron Carter and Ralphe Armstrong – and Lonnie's on organ grooving alongside a young Joe Lovano, who plays some killer tenor and soprano sax – and the album's got these really long, open cuts that definitely hint at the more spiritual look of the cover. Titles include the 15 minute jammer "Spirits Free", plus "Afrodesia", "Favors", "Straight To The Point", and "The Awakening". CD

A stone killer from organist Lonnie Smith – one of his completely cooking early albums for Blue Note, and a hard-burner all the way through! Smith's working here with a really great group that includes Idris Muhammad on drums and Melvin Sparks on guitar – both of whom give the album a really heavy bottom, and almost make the set feel like one of those classic Prestige jammers from the same time. But added to them is a great horn section of Lee Morgan on trumpet, Julian Preister on trombone, and Bennie Maupin on tenor – all of whom give the record a slightly hipper, more modern feel – in keeping with the Blue Note groove of the time. Tracks are all nice and long – and titles include the originals "Turning Point" and "Slow High" – plus versions of "See Saw", "People Sure Act Funny", and "Eleanor Rigby". CD

The amazing debut of Soft Machine! It's hard to find a more seminal moment of jazz rock from the British scene – and there's certainly few albums from its generation that stand up as well over the years as this one! The trio of Robert Wyatt, Kevin Ayers, and Michael Ratledge carve out the future of progressive playing on this excellent set of shorter tunes that still offer up all the hard jamming of later years. Beat group morphs into prog jazz before your very eyes – on tracks like "Hope For Happiness", "Why Am I So Short", "Save Yourself", "Priscilla", "So Boot If At All", "A Certain Kind", "Lullabye Letter", and "Why Are We Sleeping?". CD

A pair of classics from Strawberry Alarm Clock – back to back on a single CD! First up is their classic Incense & Peppermints – dreamy pop psych from Strawberry Alarm Clock – a great late 60s group who skirted the worlds of Sunshine Pop and more jamming garage rock! This album's got a lot more to offer than you might guess from just the title hit – as the instrumentation sometimes gets nicely tripped out – with cool use of organ, harpsichord, and guitar – plus plenty of special effects in production – and even some of the song styles and lengths are unusual too, making the album way more than just a batch of cute little tunes. Titles include the classic "Incense & Peppermints", the eight minute jammer "The World's On Fire", the instrumental "Pass Time With SAC", and the cuts "Paxton's Back Street Carnival", "Rainy Day Mushroom Pillow", "Strawberries Mean Love", and "Unwind the Clock". Next is Wake Up It's Tomorrow – a great little second set from Strawberry Alarm Clock – much headier and tripped-out than their first! For the record, the group's not just working off the success of a previous single – and instead is really taking time in the studio to try out new ideas, musically, lyrically, and (most importantly) in the range of cool production techniques used on the set! There's still a warm harmony vocal approach on some of the album's best tunes, but they're also matched here with some more progressive guitar parts and fuzzier instrumental touches – in a way that brings a bit of darkness into the sunshine, and creates the wonderful sense of counterpoint that was always the group's strongest suit. Most tunes are nicely unfamiliar, and titles include "Curse Of The Witches", "Black Butter – Past, Present, & Future", "Soft Skies No Lies", "They Saw The Fat One Coming", "Nightmare of Percussion", "Tomorrow", "Sit With the Guru", and "Pretty Song From Psych-Out". CD also features single mixes of "Tomorrow" and "Sit With The Guru". CD

One of the few solo albums ever cut by organist Chester Thompson – a player who's known to most as the keyboardist in Tower Of Power, but one who's also remembered by a select funky few for this killer record for the Black Jazz label! The album's a stripped-down quartet session – with labelmate Rudolph Johnson on tenor, blowing some beautiful lines alongside long, drawn-out Hammond solos from Thompson! The overall feel is similar to some of the great late 60s Prestige sessions – especially Don Patterson dates – with the group free swinging away in a very live format, just like you might have heard if you caught them in some hip southside club. Other players include Al Hall Jr on trombone and Ray Pounds on drums – and the album features four long jamming tracks, with titles that include "Mr T", "Trip One", "Weird Harold", and "Powerhouse". CD

An unusual group that we only know from this one Italian soundtrack – and a combo who's not nearly as electronic as you might guess from their Kraftwerk-sounding name! Instead, the approach here is a bit like that of Goblin on their horror scores from the same time – a style that uses keyboards, guitar, and bass that come from a more progressive music background than other Italian soundtrack composers – but which also comes off here with a lot less of the jamming modes that you'd hear in Goblin's work. Instead, the overall sound is relatively laidback – lessons learned from the great Italian composers of the early 70s, especially in their balance of subtle and more experimental sounds – all poised nicely to build over the course of the film. There's some great use of electric bass here – often quite spare and pulsating – and the CD reissue features 26 tracks in all, including a number of bonus tracks! CD

A great collection of groundbreaking early work from Michal Urbaniak – early European recordings that are very different than his American records from later years! First up is Paratyphus B – some of Michal Urbaniak's heaviest work of the 70s – an album of relatively free and exploratory fusion, recorded in Stuttgart with a group of Polish contemporaries who include Urszula Dudziak on voice and percussion, and Adam Makowicz on electric piano! Urbaniak plays soprano sax, tenor, and flute next to his more familiar electric violin – and many of the tracks are spacey explorations in sound, with some sort of rhythm, but really more a focus on the jamming of the keys, violin, and Dudziak's incredible voice. Titles include "Valium", "Irena", "Sound Pieces", "Winter Piece", and "Paratyphus B". Inactin is one of the greatest albums that Polish jazzman Michal Urbaniak ever cut – and a sparkling session of funky fusion recorded in Germany, at the studios of Horst Jankowski! The album feels like one of the great MPS electric albums from the 70s – and it's got loads of cool Fender Rhodes and clavinet playing, spacey electric violin, and some tight choppy soprano work. Urszula Dudziak lays down some incredibly spooky vocals on the best tracks – riffing away in an otherworldly way that matches the funk on the album. Includes the nice breakbeat tracks "Inactin" and "Ekim", plus the cuts "Lato", "Fall", and "Groovy Desert". 3CD set features 2CDs worth of rare bonus live material – a concert recorded in Bremen in 1972, with very long tracks that include "Introduction/Valium", "Sound Pieces", "Irena", and "Groovy Desert/Silence/Lato". CD

Three albums by this wonderfully unique keyboardist! First up is Eyeball – a really nice mix of modes from keyboardist Jasper Van'T Hof – as some cuts feature the heavy electric modes we know from his MPS recordings of the 70s – but others feature a much more personal approach on acoustic piano! As with other records from the time, Jasper plays a range of keyboards here – from piano to Fender Rhodes to organ – and the group shifts a bit from track to track, depending on the mood – and features Wim Overgaauw on guitar, John Lee on bass, Zbigniew Seifert on violin, and Gerry Brown on drums. Lee and Brown kick in heavily on the jamming cuts, but lay back more on the mellower ones – and titles include "One Leg Missing", "Bax", "Viper Snake", "Eyeball 1", "The Rev", and "Schwester Johanna". Next is Solo Piano – a record that's a bit more down to earth than some of the electric 70s material from Jasper Van't Hof, but equally great in its own sort of way! The session has Jasper playing solo acoustic piano, mixing a few standards with even cooler original material that really makes the record shine! Titles include "Eyes", "7th Day Ticket", "Dinner For Two", "Skyline", "The Dodge", and "New Bob". Tomorrowland is a cool trio set from pianist Jasper Van't Hof – one that has him joined by the great Bob Malach on tenor, a player Jasper's worked with for years, and who really gets some great space to open up here! The third member of the group is the wonderful JF Jenny Clarke on bass – and titles include "Ventre A Terre", "The Quiet American", "Round About", "Ma Belle", "Mr Woof", and "Rutherford" – all nice original material! CD

The second US album from Euro disco outfit Voyage – a group who manage to bring in some nice progressive and jazzy elements to the mix! There's almost a jamming rock-gone-disco approach to a few of the best numbers – thanks to a strong use of heavy guitars and keyboards, and a real rock-like phrasing at times. All tracks are longish, with TK-styled breakdowns on the better tunes – and lead vocals are handled by Sylvia Mason. Titles include "Souvenirs", "Kechack Fantasy", "Eastern Trip", "Let's Fly Away", "Golden Eldorado", and "Gone With The Music". CD

The second half of the title gives this one away – as the album's a batch of progressive rock tracks from early 70s Bolivia – all very heavy on guitar and organ! Tracks are longish, but never too sloppy – and the keyboards and guitar jam together nicely in an exploration of themes that are slightly different than those that might have been used in a set like this of European origin. A few numbers add in a bit of strings or woodwinds – not much, just enough to push things past simple rock jamming – and titles include "Kenko", "Wara", "El Inca", "Realidad", and "Cancio Para Una Nina Triste". CD

Great work from the second chapter of Grover Washington's career – his post-Kudu run over at Elektra Records! The work here's a bit tighter than the Kudu sides, but still pretty great overall – thanks to that key Washington approach to a solo – a sense of space and soul that few other players could match! Most of the tracks were done with Ralph MacDonald at the production helm – in a similar blend of jazz and soul to his own work – and the tracks here are an excellent example of how a late 70s evolution in jazz funk created a keen sense of economy in the decade's best players! Titles include Grover's classic duet with Bill Withers, "Just The Two Of Us" – plus "Jammin", "Little Black Samba", "Let It Flow", "Jet Stream", "The Best Is Yet To Come", "East River Drive", "Can You Dig It", and "In The Name Of Love". CD

A trio of excellent albums from master drummer Tony Williams – all brought together in a single package! Believe It is crackling funky fusion from Tony Williams' "new" version of his classic Lifetime group – a quartet that featured some smoking guitar work by jazz rock legend Allan Holdsworth! The sound on the set is very full-on and jamming – fuzzed-out guitars taking over most of the tracks, and Tony jumping into the fray with some really frenetic work on drums – miles away from his earlier jazz work in the 60s, and really taking off with the best sort of rock/jazz fusion energy! Titles include "Snake Oil", "Fred", "Proto Cosmos", "Red Alert", and "Mr Spock". On Million Dollar Legs, Tony Williams is a million miles from his work with the Miles Davis Quintet on this record – grooving in a heavy rock/fusion mode with his New Lifetime group that includes Allan Holdsworth on guitar, Tony Newton on bass and vocals, and Alan Pasqua on keyboards! The tracks have a post Jeff Beck kind of approach – lots of heavy riffing in a way that does create a bit of funk at the right moments, almost in the Alphonze Mouzon/Tommy Bolin mode – and Williams' drums are right at home in the setting, and somehow filled with as much imagination and creativity as before! Titles include "Sweet Revenge", "Inspirations Of Love", "Lady Jade", "What You Do To Me", and "Joy Filled Summer". Joy Of Flying is a key record in the evolution of Tony Williams as a drummer – and kind of a powerful summation of all the changes he'd made in the 70s – before a return to straighter jazz in the next decade! Williams' drumming here is incredibly fierce at points – almost at a Billy Cobham level – but he also shows the sensitivity to deeper sounds that he first brought into play during the 60s – and manages to mix an ear for fusion modes with some freer elements too – thanks to help from a lineup of players that includes Herbie Hancock and Brian Auger on keyboards, Cecil Taylor on piano, Jan Hammer on Fender Rhodes, Stanley Clarke on bass, Ton Scott on lyricon, and Ronnie Montrose on guitar. Titles include "Tony", "Coming Back Home", "Morgan's Motion", "Eris", "Open Fire", and "Hittin On 6". Great CD reissue – full notes, and a 20 page booklet with the usual Reel Music attention to detail! CD

A set that's not entirely funky, but maybe not that far off either – as the whole thing features unreleased material that was recorded by Zappa in the studio after Hot Rats – including some nicely jamming cuts that really have the group letting loose in maybe a more spontaneous, organic sort of way! All that Zappa sharpness is still present in the instrumentation, but things are maybe a bit more soulful – which seems a strange word to use, but definitely fits at times – as the hip group features performances from Sugarcane Harris, as well as drums from Aynsley Dunbar! Titles include "Basement Jam", "I'm A Rollin Stone", "Tommy/Vincent Duo 1", "Funky Nothingness", "Work With Me Annie/Annie Had A Baby", "Khaki Sack", "Twinkle Tits", "Chunga's Revenge (basement version)", and "Tommy/Vincent Duo 2". 3CD set is overflowing with great material – CDs 2 and 3 feature session masters and bonus tracks from the Zappa/Hot Rats 70 recordings – 14 more rare tracks! CD

A way way deeper set than the first volume of Bay Area Funk – and a collection that shows that things got pretty heavy on the San Francisco and Oakland scenes of the 70s! A good number of the tracks here are instrumental, and show some wonderful interplay between the trippier sides of funky jazz and the harder sides of soul going on in the Bay Area back in the day – killer music from the fringes that often got lost in the shuffle of all the better-known music coming out on the bigger labels! The work here is all from very tiny labels – expertly selected and all officially cleared by the Luv N Haight team with keen respect for the artists involved – and in a way, the package has set a new high standard for the label! A tremendous discovery, and filled with tracks we'd never heard before – titles that include "Stop Look Listen" by Primevil, "Poor Sad Child (part 1)" by The Windjammers, "Born To Live With Heartache" by Mary Love, "Move In The Room" by Dawn & Sunset, "Ebony" by Project Soul, "Acid Lady" by San Francisco TKOs, "Hip Breakin" by Little Denise Stevenson, "Devil's On The Run" by Uptights Band, "Brute Strength" by Mile Selesia, and "Lenient With My Love" by The Relatives. CD

An incredible document of a key genre in 50s jazz on record – the jam session tradition, recorded beautifully for Verve records by the legendary Norman Granz! The idea of a jam session was nothing new at the time, of course, but it was mostly a live phenomenon – known to players from concerts and club dates, or presented on vinyl by Granz, in his celebrated Jazz At The Philharmonic sessions. These dates mark a move into the studio by Granz – one that captures the same sort of energy and unique pairings of musicians that went down in the live sessions, with the added benefit of studio technology to make the work sound even clearer, and more intimate. The 5CD set brings together all 9 Jam Session albums – packaged beautifully in a slipcase with original album cover art, and a full 72 page booklet on the musicians, sessions, and titles included. Players include nearly everyone who might have worked for Verve in the 50s – Benny Carter, Charlie Parker, Johnny Hodges, Dizzy Gillespie, Stan Getz, Buddy DeFranco, and countless others – and titles include "Jam Blues", "Funky Blues", "Apple Jam", "Blues For The Count", "Jamming For Clef", "Rose Room", "Blue Lou", and "Lullaby In Rhythm" – all in very long versions! CD

A really rare side of the legendary De-Lite Records – served up here in a range of obscure 45s before the company exploded into bigger fame with the success of Kool & The Gang! The work here puts De-Lite right on the same level as important indies on the east coast at the turn of the 70s – and shows an especially strong ability to capture the best group styles of the period – from the sublime harmony styles being crafted in New Jersey and Philly, to some of the growing funky styles in the pre-disco years! The set's a much-needed look at this early part of the label – and also features titles on the related Red Coach label too – in a wonderful package of 25 tracks that includes "I'll Never Let You Get Away" by Universal Mind, "So Long Sweet Little Girl" by Reggie Saddler Revue, "I'm At The Breaking Point" by The Trumains, "Girl (part 1)" by Philadelphia Ambassadors, "Gotta Let Some Sunshine Into My Life" by The Exceptionals, "I'll Always Love You" by The New Cymbals, "So Fine" by The Fiestas, "The Story Of Our Love" by The Carstairs, "Love You Can't Shake It" by Reggie Saddler & The Jammers, "Nothing In The World" by The Electras, "Back On The Road Again" by Richmond International, and "Love Foundation" by Electrified Action. CD

That's the great Grant Green on the cover – a hint that you're in for an all-masters set of funky guitar here – in a selection that's put together by the folks at Japan's Guitar Magazine! The package features 2CDs, and Grant gets one whole disc to himself – as the collection mixes together a fair bit of gems from the early 70s years when jazz guitar was finding much funkier currents, thanks to shifts that were taking place in the world of soul music – inspirations from the world of funky 45s, but taken to jazz territory with much longer grooves and extended solos! Tracks include "Brown Bag" and "No Way" by Ivan Boogaloo Joe Jones, "Bowlegs" and "Sister Janie" by Funk Inc, "Giblet Gravy" by George Benson, "Bambu" by Reuben Wilson, "Thank You" by Melvin Sparks, "Chunk A Funk" by Mel Brown, and "The Soul Roll" by Billy Butler – plus Grant Green cuts that include "Jan Jan", "Ain't It Funky Now", "Windjammer", "Sookie Sookie", "The Final Come Down", and "Hurt So Bad". CD

It's been a decade since the last entry in this really wonderful series – and it's clear that there's been plenty going on in the Detroit scene as well – a continuation of that old school underground that has the spirit of classic soul alive and well in the Motor City! These cuts are contemporary, but they recall the heyday of indie label 45s that were issued in the shadow of Motown – really top-shelf work that soars with a spirit that shows that in Detroit, classic soul is alive and well – even after decades of other sounds from the city! Some cuts here have a 70s vibe, some a bit of an 80s soul touch, but they're all unified through a sense of personal care and commitment to old school modes – on titles that include "Anytime You Need Love" and "So Close" by Jose Hamilton, "Singing That Song Once Again" by The Carmichael Movement, "Portuguese Love" by Ping Spells, "I Won't Let You Go" by Faschone, "More Than A Notion" by Jammie Nelson, "Sweet Summer Evenings" and "This Time Love's For Real" by JazShop, and the cuts "He's Mine", "I Get Emotional", "Give It What Cha Got", and "Bring On The Night" by The Funk Factor. CD

Argentine rock, recorded in Paris during the early 70s – a really unusual expatriate album that comes off with a sound that's pretty unique! Miguel Abuelo clearly draws inspiration from the heavier rock that was showing up in South America at the time – yet the overall execution of the record also shares some of the warmer, more optimistic qualities that marked some of the French groups during the period – occasional folksy elements, and a post-68 positivity that holds on even when things get somewhat trippy and jammy. Instrumentation is heavy on guitars – both acoustic and electric – and the longer tracks really take off with some wild sounds, especially when bits of moog or electronics are dropped into the mix. Titles include "Senor Carnicero", "El Muelle", "Estoy Aqui Parado Sentado Y Acostado", "El Largo Dia De Vivir", and "Tirando Piedras Al Rio". CD

Wonderfully fuzzy work from Amanaz – one of the trippiest, headiest groups of the Zamrock scene of the 70s! The guitars here are very full and present – not at a hit you over the head jamming label, but with this rich sonic element that has lots of bassy undercurrents – at a level that makes the album a head-nodding gem all the way through – poised perfectly between some of the more psyche styles of the African scene of the time, and some of the more thoughtful singer-songwriter material. The group have a quality that's surprisingly deep – very soulful, and with a subtle power that comes through strongly – thanks to a mostly-English batch of lyrics (although a few tunes here are in their native Bemba.) No cuts are all-out funky, but all have this great slow-funk sort of charm – and titles include "I Am Very Far", "Sunday Morning", "Khala My Friend", "Green Apple", "Africa", "Making The Scene", "Easy Street", "Big Enough" and "Kale". 2CD package features a full bonus "reverb mix" of the album – even trippier! CD

A prog rock masterpiece from Ash Ra Temple – a set that still has the group in very pschedelic, jamming, and improvisational territory – as they serve up two album-length tracks that really soar to the skies on wings of sound! The group here still features lots of great keyboards and electronics from Klaus Schulze, but on side one most of the energy comes from the core interplay between the fantastic guitars of Manuel Gottsching, bass of Harmut Enke, and drums of Schulze – players who really take their combination of instruments in very different directions than UK trios of the time! Side two definitely has some spacier moments that let the keyboards dominate a bit more, alongside cool vocals from Rosi, used in very light ways – but there's plenty of jamming too – on titles that include "Freak N Roll" and "Jenseits". CD

Two very unusual albums from the great Graham Bond – back to back in a single set! Holy Magick is quite spiritual, almost supernatural at times – very much what you'd expect from the cover and title! The record's light years away from Bond's British beat group work of a few years before – and has a quality that almost mixes headier rock influences with the spiritualism of the post-Coltrane generation – as the record almost goes farther in a direction that was somewhat initiated by Albert Ayler's more rock-like leanings at the end of his life. Many numbers have chorus vocals rising up behind Bond's lead – and while his own work on alto sax is somewhat displaced by strong use of guitar on many tracks, there's still a fair bit of jazzy elements going on in the mix – particularly on side two, which features Graham laying down some strong lines on the Hammond. Titles include "Aquarius Mantra", "Praise City Of Light", "12 Gates To The City", "Invocation To The Light", "The Qabalistic Cross", "The Pentagram Ritual", "The Holy Words", "The Judgement", and "The Magician". Holy Magick is an equally unusual record from a very unusual player! Altoist Graham Bond had a long and varied career before he made this groovy rock/jazz album in the early 70s. He started as a committed Brit modernist, playing in Don Rendell's early group, then moved into the Beat Group era, with his Graham Bond Organization that featured him on organ and alto. This session recorded with his group Magick shows a similar extension from the Beat Group sound that was taken by Brian Auger – lots of longer jamming cuts, still with the R&B tinged jazzy playing at its base, but with spiritual jazz on the vocals at times, and almost a bit of prog as well. The heart of the whole thing's still nice and jazzy, though – and titles include "Druid", "Ajama", "Forbidden Fruit", and "Moving Towards The Light". CD

A great package that includes the "final" concert by David Bowie's Ziggy Stardust and the Spiders From Mars persona – recorded at London's Hammersmith Odeon in 1973, and pulled from the soundtrack to the DA Pennebaker film of the same name! The original film featured Bowie, Mick Ronson, and the rest of the Spiders jamming their way through the guitar-heavy tunes of the Ziggy era, plus a few choice bits from earlier years. Titles include "Ziggy Stardust", "Watch That Man", "Wild Eyed Boy From Freecloud", "All The Young Dudes", "Oh You Pretty Things", "Moonage Daydream", "Changes", "My Death", and "Hang Onto Yourself". Plus, this 50th Anniversary edition features much better mastering than the original – and also includes the not-reissued Jeff Beck appearances on "Jean Genie/Love Me Do" and "Round & Round". CD

Not west coast, but "best coast" jazz – a prime example of the way the Clifford Brown/Max Roach team helped to cook up the intensity of the LA scene of the 50s by infusing it with a bit of New York fire! The album takes off in the extended mode of Clifford's All Stars album – and like that one, features Max Roach on drums alongside a lineup of players that includes Herb Geller and Joe Maini on alto saxes, Walter Benton on tenor, Kenny Drew on piano, and Curtis Counce on bass – all jamming together in really extended, side-long tracks that have plenty of space for creative solo work and free-flowing improvisation! The format's a very unusual one for the 50s – and a great side-stream to the better-known Brown/Roach albums – with the 2 long tracks "Coronado" and "You Go To My Head". CD also features a shorter rehearsal take of "Coronado". CD

An incredible album from Dinosaur L – the legendary New York dancefloor project of Arthur Russell! – fleshed out and expanded more than ever before by Sleeping Bag and Get On Down Records! The group's core sound is a punky, funky, chunky amalgam of bass thumping, guitar riffing, keyboard filling, and sax honking – all very much in the spirit of Russell's best quirky club work of the time, but with the added sound here of a more expanded approach – one that takes the tunes in a whole new territory than the more famous 12" singles! The tracks on the original set were simply numbered – "1", "2", "3", and so on – and come across almost as free-jamming instrumentals – but this reissue appends the songs with their 12" titles, so "#1" gets parenthetically entitled "You're Gonna Be Clean On Your Bean" and "#5" as "Go Bang!", plus this disc adds several 12" versions that were not on the original LP release, like Francois K's mix of 'Go Bang!" and Larry Levan's mix of "In The Corn Belt". Totally great stuff – as experimental as it is funky! This 2CD box set edition is amazing – coming in a heavy-duty box with each disc in an oversized gatefold style sleeve – and it includes more Arthur Russell collaborative and/or pseudonymous material for Sleeping Bag with or as Bonzo Goes To Washington, Felix, Sounds Of JHS Brooklyn and Indian Ocean. Other tracks include "School Bell/Treehouse" (Indian Ocean), "You Can't Hold Me Down (Extended Version)" (Felix), "5 Minutes (R-r-r Radio Mix)" (Bonzo Goes To Washington) and more. Also includes a nice booklet of photos, artwork and artist testimonials – plus notes by Russell biographer Tim Lawrence. CD