A rare TK Records effort from James Brown – very much in the best uptempo funk mode of the later Polydor years! The groove here is quite similar to those better-known efforts – grooves that are a bit quicker than a few years before, but still played in a core JB funky style – live and lively, with plenty of emphasis on the rhythms! Brown often referred to his style here as disco, but it's a lot more like some of the P-Funk progressions of the period – a mode that's more polished than a grittier funky generation, yet far from smooth club or disco overall. There's plenty of choppy little groovers that make the record great – and titles include the long cut "Rapp Payback", plus "Funky Men", "Smokin & Drinkin", "Stay With Me", and "Mashed Potatoes". CD

A rare TK Records effort from James Brown – very much in the best uptempo funk mode of the later Polydor years! The groove here is quite similar to those better-known efforts – grooves that are a bit quicker than a few years before, but still played in a core JB funky style – live and lively, with plenty of emphasis on the rhythms! Brown often referred to his style here as disco, but it's a lot more like some of the P-Funk progressions of the period – a mode that's more polished than a grittier funky generation, yet far from smooth club or disco overall. There's plenty of choppy little groovers that make the record great – and titles include the long cut "Rapp Payback", plus "Funky Men", "Smokin & Drinkin", "Stay With Me", and "Mashed Potatoes". CD

An unusual slice of work from the James Brown Family – material from three different periods – early 60s cuts for Dade Records, early 70s material for Brownstone, and late 70s tracks for TK Records! The collection features some especially rare Dade material – tracks from artists that were working with James Brown, recording off for Henry Stone in a raw early 60s mode with James helping out in the studio – killer cuts that include "I Need Love" by The Baby, "Someone Up & Told Me" by Sonny Till, and "Do The Mashed Potatoes (parts 1 & 2)" by Nat Kendrick & The Swans. The set then features some early 70s cuts that were contemporaneous with the big burst of activity at People Records, but issued on Brownstone – tracks that include "Never Get Enough" and "I Need Help" by Bobby Byrd, "In The Land Of Milk & Honey" by Vicki Anderson, "You've Got To Change Your Mind" by Bobby Byrd, and "Nature (parts 1 & 2)" by The JBs International. The set also has some TK Records cuts – "You & Me Together" by Vicki Anderson, and "Mashed Potatoes" and "Rapp Payback" by James Brown – then also includes more rare cuts, including "Wichita Lineman" by Dee Felice Trio, "I Loves You Porgy" by James Brown & The Famous Flames, and "Win Your Love For Me" by Johnny The Man. CD

An unusual slice of work from the James Brown Family – material from three different periods – early 60s cuts for Dade Records, early 70s material for Brownstone, and late 70s tracks for TK Records! The collection features some especially rare Dade material – tracks from artists that were working with James Brown, recording off for Henry Stone in a raw early 60s mode with James helping out in the studio – killer cuts that include "I Need Love" by The Baby, "Someone Up & Told Me" by Sonny Till, and "Do The Mashed Potatoes (parts 1 & 2)" by Nat Kendrick & The Swans. The set then features some early 70s cuts that were contemporaneous with the big burst of activity at People Records, but issued on Brownstone – tracks that include "Never Get Enough" and "I Need Help" by Bobby Byrd, "In The Land Of Milk & Honey" by Vicki Anderson, "You've Got To Change Your Mind" by Bobby Byrd, and "Nature (parts 1 & 2)" by The JBs International. The set also has some TK Records cuts – "You & Me Together" by Vicki Anderson, and "Mashed Potatoes" and "Rapp Payback" by James Brown – then also includes more rare cuts, including "Wichita Lineman" by Dee Felice Trio, "I Loves You Porgy" by James Brown & The Famous Flames, and "Win Your Love For Me" by Johnny The Man. CD

A super-huge moment for Miami funk guru Peter Brown – a record instantly recognized by the silhouetted cover image of a perky nude in a window on the front, and for the very famous title hit, "Do You Wanna Get Funky With Me?" Despite its hit status, the record's actually a pretty nice example of Brown's talents – with plenty of spare cuts that feature keyboards, percussion, and synth – plus some occasional vocals by Betty Wright, Pat Hurley, or the vocal group Wildflower. Titles include "Do You Wanna Get Funky With Me", "Dance With Me", "Without Love", "Fantasy Love Affair", "You Should Do It", and "For Your Love". CD features the bonus track "Dance With Me (7" mix)". CD

A great Japanese-only collection – rare Atlantic Records material by Ruth Brown – way past the hits! Titles include "RB Blues", "Jack O Diamonds", "Love Me Baby", "Shine On", "I Can Dream", "Why Me", "This Little Girl's Gone Rockin", "Please Don't Freeze", "Tears Keep Tumbling Down", and "Somebody Touched Me". LP, Vinyl record album

Dave and the quartet pay tribute to the songwriting genius of Cole Porter – working with familiar older tunes, but nicely unlocking them with a strong sense of Brubeck modernism! Things start out slow, but get extremely playful as the set goes on – with fresh timings and phrasings that move the chestnuts past their usual territory – and allow some great space for crisp alto solos by Paul Desmond, always a treat in any Brubeck set! Dave himself sounds slightly heavier in his left hand on the keys – hitting things with a harder tone than one might expect for a Cole Porter session, and again making for an unusual twist for the material. Titles include "Night & Day", "Anything Goes", "Love For Sale", "What Is This Thing Called Love", "All Through The Night", and "You're The Top". CD

A great little live set – nicely extended, with the kind of surprises that Brubeck could bring to his concert appearances! The group's his classic quartet – with Paul Desmond on alto, Eugene Wright on bass, and Joe Morello on drums. Tracks include "Eleven Four", "St. Louis Blues", "For All We Know", "Castillian Drums", and "Blue Rondo a la Turk". CD

A very cool Japanese-only collection of early Columbia Records material from Dave Brubeck – with titles that include "Blue Rondo A La Turk", "Unsquare Dance", "Bossa Nova USA", "Elven Four", "It's A Raggy Waltz", and "Take Five". LP, Vinyl record album

Dave Digs Disney – and hence, so do we! The album's one of the first to ever pay tribute to the great compositions heard in Disney films – and it features the magical sound of the Brubeck Quartet, turned upon a host of familiar numbers, and transforming them into longer vehicles for jazz improvisation. Given Dave's great sense of play with rhythm and timings, the tunes really get changed up in these versions – in a way that takes best advantage of the modal rhythms and jazz waltz styles that many of them share. Paul Desmond's alto work is as impeccably-handled as ever, and Joe Morello's sprightly drums seem perfectly at home with the tunes – as does Dave's warmly lyrical work on piano. Titles include "Alice In Wonderland", "Give A Little Whistle", "One Song", "Someday My Prince Will Come", and "Very Good Advice". CD

The monumental debut of BT Express – and an excellent funk album that often gets overlooked by fans of the music because of the band's bigger fame as a disco group! This first record has the combo grooving hard and instrumentally – in the mode of a tight blacksploitation soundtrack, with plenty of tight wah wah guitar riffing, conga beats, and funky flute and sax – topped off by just the right amount of strings to make the set soar even more! The album's best known for the title track "Do It (Til You're Satisfied)" – which was a big hit, but is still an excellent groover – and the set also includes loads of other great cuts too – like "Express", which was the original song that the created the JBs' response track "Monorail"; "This House is Smokin'", which has lots of funky descending horn bits; and other great tunes that include "Mental Telepathy", "If It Don't Turn You On", and "Do You Like It". CD features two bonus tracks – the original 7" single versions of "Express" and "Do It". CD

... LP, Vinyl record album

The legendary Kenny Burrell played often at the Village Vanguard over the years – and this sweet set from later years has the guitarist really stretching out in the familiar setting – hitting some surprisingly deep, strong lines throughout – all with effortless ease! The record's a great reminder that Burrell kept on growing over the decades, and never seemed to lose his power as both a leader and a soloist – something we've been reminded of in his many records after this early 90s set – and the younger combo here really seems to bring out a fresh fire in Kenny, with work from James Williams on piano, Peter Washington on bass, and Sherman Ferguson on drums. Titles include the originals "Then Along Came You", "Good News Blues", and "Maya's Dance" – plus "Fungi Mama", "Lament", and "Black & Tan Fantasy". CD

A great title for this one – as the album's got a cool, laidback groove that's very much in a "night song" mode! Arrangements are by Don Sebesky – in that warm and fluid mode he was bringing to some of his best CTI sides at the time – and they push guitarist Kenny Burrell a bit more than usual, as he stretches out over the larger arrangements with some really great solo work that dips, turns, and rolls with incredibly warm hues of sound! Kenny plays solo on 2 tracks, and with a smaller quartet on a few more – and titles include "Night Song", "Love You Madly", "The Shadow Of Your Smile", "Brother Where Are You?", "Nighthawk", and "Teach Me Tonight". CD

Mighty nice work from singer Ann Burton – one of those jazz vocalists who was almost a secret star in the 70s – continuing a legacy of earlier fame, but through a series of overseas recordings and small label dates that really let her grow creatively and open up fresh territory as an artist! The set features accompaniment from a shifting lineup of Japanese jazz players – and includes some especially nice tenor and flute from Akira Miyazwa, plus piano from Masahiko Satoh and Toshihiko Ogawa, guitar from Sadanori Nakamure, and bass from Kunimitsu Inaba – an especially great player whose round, warm tone really shapes the record. Titles include "Yesterday & Yesterdays", "Come Rain Or Come Shine", "May I Come In", "Love Is A Necessary Evil", "By Myself Alone", and "That Old Feeling". CD features two bonus tracks – "Oh What A Shame" and "Nice To be Back Again". CD

An obscure little set, but a great one too – a joint effort from Charles and Barbara Burton – served up with a really wonderful blend of upbeat club and modern soul modes! The album's got all the indie soul charm you'd expect from its title and cover – a simple, straightforward approach to the music that's often got lots of personal touches and genre-crossing moments – a great antidote to more mainstream soul of the time, but done with a fair bit of skill throughout! Instrumentation includes some great keyboards next to Barbara's vocals – and a few numbers feature chorus vocals that come across with an especially shimmering kind of sound. Titles include "LA Will Make You Pay", "Sincerely Yours", "Who You Gonna Get", "You Know I Love You", "Groovin At The Night Club", and "Nation Song". CD

A very unusual early album from piano genius Jaki Byard – recorded right around the same time as his initial albums for Prestige, and his big breakthrough with Charles Mingus! The set is all solo, recorded during that legendary short span of recordings by Candid Records in Nola Penthouse – and Byard is completely on fire, maybe showing a pianistic dexterity and command of the history of jazz that wouldn't burst forth on other records until the end of the decade! Jaki wrote all the material himself – and seems to embrace a range of expression that runs from Jelly Roll Morton up through Mal Waldron – then filtered and focused brilliantly through his godlike fingertips. Titles include "Hollis Stomp (Mr Piano Man)", "Flight OF The Fly", "Aluminum Baby", "One Two Five", Dian's Melody", and "Jaki's Blues Next". CD

Rare 70s work by Bobby Byrd – sides done for the Brownstone and International label, most of which feature work by members of the James Brown universe, and some production by James Brown himself! The best tracks on the set are from the early 70s – and feature Bobby working in that incredibly tight, incredibly fast-grooving mode he first forged with James – heard to best effect on some key live recordings, and served up here in some equally great studio sides that feature help from Fred Wesley and Brown. A few other cuts keep the funky fire burning with some surprisingly nice Miami touches – with Clarence Reid on production, but Bobby more than strongly in the mix on some great vocals. There also appears to be a few tracks from later years – featuring Byrd with singers Vicki Anderson and Martha High, plus a group that also includes Bootsy Collins and Fred Wesley – and 2 more that are later live numbers. The set features 11 tracks in all, and is a great counterpart to Bobby's one and only album for the King label – with tracks that include "Never Get Enough", "Hang It Up", "Back From The Dead", "The Way To Get Down", "Feel Good Friday", "Sayin It & Doin It Are Two Different Things", "Let Me Know", and "Tell Me What's On Your Mind". CD

Bobby Byrd recorded some killer work with James Brown back at the end of the 60s, but hardly got the chance to record much once the 70s moved on – until this killer full length set that has Bobby's vocals backed by the genius of the Soul Society combo! There's a really old school vibe to the whole set – strongly inspired by the James Brown sound of the late 60s, but also filtered through the new changes that the UK scene was bringing in during the generation of Brand New Heavies – a plenty that's great for Bobby, and has a whole back to basics vibe that really sounds wonderful, and reminds us that old funky legends never die – they just don't get the attention they deserve! The set features guest vocals from Vicki Anderson and Carleen Anderson – two generations of female funk – and titles include "Back From The Dead", "Never Get Enough", "I'm On The Move", "Sayin It & Doin It Is Two Different Things", "The Way To Get Down", and "Sunshine". CD

A wonderfully lyrical session from trumpeter Donald Byrd – yet for some reason, the album's one of his most overlooked from the 60s! The session features material by 2 different groups – one that includes Byrd, Hank Mobley, and Duke Pearson; and another which features Byrd, alongside Jackie McLean and Pearson. Donald's playing is really opening up here – hitting some sweeter, more drifting notes, yet still referencing the heavier style of his hardbop years from time to time – and in a way, the record's almost a hint of the solo style that Byrd would take up on 70s recordings with Larry Mizell – still in a deep groove, but with a newfound ability to sail over the top with some nice light notes. Mobley and McLean are superb, as always, and Pearson plays nice and hard – with more of an edge than on his own recordings of the time. Tracks include "Ghana", "Lex", "My Girl Shirl", and "Bo". CD

A Donald Byrd treasure – and an album that was almost left in the vaults by Blue Note, until they briefly released it at the end of the 70s! The cover and title are a bit unfamiliar, but the music is right up there with Byrd's classic sessions with baritonist Pepper Adams – a great player here, with a deftness on his horn that's incredible – matching all the sharp changes and soulful undercurrents of Byrd's sparkling trumpet! There's a nice hard sound to the whole thing – almost the raw power of the pair's albums for the Warwick label – and as with those, Herbie Hancock is on piano – giving the whole thing an excellent soul jazz groove that really kicks the main soloists into action! Titles include "Great God", "I'm An Old Cowhand", "That's All", "You're Next", and "Chant". CD

A rock-solid set from Donald Byrd and a great group of players – a record that's got the same sharp edges and dark undercurrents of late 60s classics like Black Jack, Mustang, and Slow Drag! As with those gems, this album's got Donald really experimenting a bit more – especially with the rhythms – which are put forth by a hip trio that features Chick Corea on piano, Miroslav Vitous on bass, and Mickey Roker on drums! But almost even better is the frontline – with Sonny Red making one of his sublime appearances with Byrd, blowing alto with an edge that's amazing – and frequent partner Pepper Adams, adding plenty of baritone on the deep end. The whole thing's great – oddly unreleased until the start of the 80s – and titles include "Samba Yanta", "I Will Wait For You", "Blues Medium Rare", "The Creeper", "Chico-San", "Early Sunday Morning", and "Blues Well Done". CD

One of Donald Byrd's first albums on Blue Note – tight, soulful, and a firm statement of hardbop truth – a record that showed that Byrd was firmly on the map! The ensemble features Jackie McLean on alto, and the rhythm section includes Duke Pearson, Doug Watkins, and Lex Humphries – all of whom bring in a sense of lyrical interplay that really shows off a newer side of Byrd's trumpet that didn't emerge in earlier 50s recordings – one that opens up in the individuality of the Blue Note mode, and shakes off some of the more academic trappings of his early work with Gigi Gryce. All tunes are proud originals by Byrd himself – written with a real sense of color, tone, and timing – and titles include "Bup A Loup", "Funky Mama", "Lament", and "Amen". CD

One of our favorite records of all time from trumpeter Donald Byrd – a sometimes-overlooked gem from the late 60s, and one that has Byrd really playing with a slightly different edge than before! The set's recorded with a group that Byrd maintained for two years – a stunning lineup that features Sonny Red on alto sax, Cedar Walton on piano, Walter Booker on bass, and Billy Higgins on drums – all of whom come together magnificently in a razor-sharp formation, mixing hardbop and soul jazz with an edge that you'll hardly find on any of Byrd's other albums from the time. A lot of the credit is due to Sonny Red – who plays with a raspy tone that's odd for the alto, and which really draws out Byrd's solo skills. Walton's got a heavy left-handed approach that really hits some great grooves – and the team of Booker and Higgins leap lyrically, yet also throw just the right amount of funk into the rhythms. Includes the Blue Break classic "Jelly Roll", the amazing jazz dancer "Book's Bossa", and the sublime "Slow Drag", one of the strangest groovers you'll ever hear! CD

An essential bit of 70s jazz funk – one of the key Blue Note collaborations between trumpeter Donald Byrd and producer/arranger Larry Mizell – the man who helped set a whole new standard for soulful sounds at the time! The approach here is quite similar to the pair's work on Places & Spaces – tight, but loose at the same time – with Donald delivering solos that are very different than his work from the 60s, while Mizell finds this way to mix together all sorts of instruments, at so many different levels – but with a clarity that's mindblowing. Most tracks have a nice groove, a few points feature a touch of vocals – and titles include the classic, and oft-sampled "Think Twice" – plus "We're Together", "Makin It", "Rock & Roll Again", "I Love The Girl", and "You Are The World". CD

A landmark album by Donald Byrd – the first one where he really started to click with jazz-funk producer Larry Mizell! Mizell and Byrd had worked together previously on the Black Byrd album – a soaring bit of futuristic jazz funk that took Byrd's career to a whole new level – but this album's the one where they really began to make the formula cook, blending together tight funky rhythms, spacey keyboards, soulful vocals, and some of Donald's best solo work of the 70s! The whole thing's a masterpiece, and all tracks sparkle – including "Lansana's Priestess", "Witch Hunt", and "Street Lady", one of the funkiest tracks ever on Blue Note. A haunting record with a beautiful spacey groove, and one of the best-ever albums on Blue Note! CD

A sweetly soulful soundtrack from Cagnet – music for the extremely popular Long Vacation series in the 90s, done in that Japanese style from the time that was very heavy on influences from American soul! There's English language lyrics on most tracks – sung by Natalie and Anna, with a bit of work from male singer David too – and the music has that groove from this key moment in Japanese club, when it seemed as if productions like this could easily cross the boundaries of cultures, as ears in both the US and UK scenes were really opening up to the groove. Titles include "Here We Are Again", "Long Vacation", "Into You", "Under The Moonlight", "What Will I Do", "Deeper & Deeper", and "Our Romance". LP, Vinyl record album

Soaring spiritual magic from Hadley Caliman – a 70s soul jazz session that's right up there with our favorite early work by Gary Bartz! Caliman plays tenor throughout – working with a spiritual west coast group that includes Hotep Cecil Bernard on piano, Kenny Jenkins on bass, and Brent Rampone on drums. The groove's a bit modal – in the style of some of the better sides on the Catalyst label at the time – and Caliman's hitting those angular reed notes he laid out so well on so many Fantasy sessions during the 70s, and which shine even more brightly under his own light of leadership! The album's got loads of great original tunes, and titles include "Little One", "Projecting", "Song For My Queen", "The Latin Thing", and "Smearzo". CD

The cover's a bit creepy, but the album's still plenty great – old school Cameo still strongly in a funk-based mode, before some of the stiffer grooves of their later years! Bass is the ruler of the set – and most tracks here vamp around in a very heavy P-Funk style of groove – lots of guitar dancing around the rhythms, and plenty of spoken/sung vocals from the whole ensemble – not to mention a heavy dose of keyboards that helps keep things clean and lean! A partyful album if there ever was one – with tracks that include "Soul Army", "Enjoy Your Life", "Flirt", "Secrets Of Time", "I Owe It All To You", and "For You". CD

A raw cooker from the Chicago scene of the 70s – the best kind of gritty electric blues that was being recorded by the indie labels, even at a time when other bigger companies were trying to turn it into cliche! Eddie Campbell is great here – with raw vocals that captivate instantly, which are then followed by some really nice guitar solos too – lean, and with a quality that's both bold and fragile on the strings at the same time. The group also features a young Carey Bell on harmonica – getting plenty of solos in too – plus piano from Lafayette Leake and bass from Lurrie Bell, on titles that include "She's Nineteen Years Old", "Weary Blues", "Cheaper To Keep Her", "Smokin Potatoes", "King Of The Jungle", "We Both Must Cry", and "The Red Rooster". LP, Vinyl record album

A mid 70s set from Can that's still very much in the best spirit of their earliest work – mostly longish tracks and all quite hypnotic – wonderful stuff from the team of Irmin Schmidt, Jacki Liebezeit, Holger Czukay, and Michael Karoli. Sure, Damo's not on vocals any more, but the instrumentation's still pretty darn great – and Can is also working more explicitly established global genre elements, but still really sounds like no one other than Can. Traces of reggae mix alongside many other rhythmic elements, jagged experimentalist touches, 70s ambient energy, and imaginative jams galore from one of the most creative combos of its time! Titles include "Chain Reaction", "Quantum Physics", "Dizzy Dizzy", and "Splash". CD

A slightly gentler album than the first Captain Beyond outing – but one that really has the group stretching out their wings wonderfully! The set's recorded both in Macon and Sausalito – and really has a vibe that indicates that mix – a core southern rock element, handled with the soulful undercurrents of early 70s Capricorn Records – but given some freer-thinking elements at times from the Bay Area scene! The drums power through nicely at some of the best points – but even the laidback tunes are pretty darn great – and we honestly never can understand why Captain Beyond weren't as big as some of their contemporaries from the southern scene. Titles include "Starglow Energy", "Evil Men", "Drifting In Space", "Bright Blue Tango", "Everything's A Circle", and "Voyages Of Past Travelers". CD

A great example of the cool, classy swing that Benny Carter hit in the 1960s – a groove that was more regularly brought to backings for standout singers of the time, but which also works beautifully here in an instrumental mode! Carter's alto sax is at the top of the charts, but the album's almost more of an ensemble effort overall – with great reed work from Bud Shank on alto, Teddy Edwards and Bill Perkins on tenor, Bill Hood on baritone sax, Don Abney on piano, Barney Kessell and Mundell Lowe on guitar – all coming together as kind of a mini-large ensemble – never that big in the number of players, but grooving with a great sense of poise, class, and soul. There's a number of originals written by Carter, including "Doozy", "Prohibido", "Come On Back", "Rock Bottom", "We Were In Love", and "Titmouse" CD

A landmark album from vocalist Betty Carter – not her first time in the recording studio, but maybe one of the first full length sets to really communicate all the genius she was bringing to the field of jazz vocals in the postwar years! The record is one of Carter's more sophisticated sessions, and it's one of the few from the old days to really capture her jazzy vocals well in a large group setting – using arrangements from Richard Wess to bring some nice modern currents to the proceedings. As always, Betty handles the material with a great deal of class, and an incredible sense of poise and emotion – and thee set list is nice, too, and includes many lesser-known tracks – like "For You", "Jazz (Ain't Nothin' But Soul)", "Don't Weep For the Lady", "My Reverie", and "I Don't Want To Set The World On Fire". CD

There's nothing prehistoric about this set – as saxophonist James Carter's working here in an angular mode that's strikingly modern, despite the "classics" in the title! The tunes are all familiar ones, but they're recast by Carter with a deep tone on tenor, alto, and soprano sax – one that recalls the freshness of Sonny Rollins during his most creative period, but which also is recorded here with a bit more looseness and sense of freedom. The group are all players from Carter's Detroit scene – Craig Taborn on piano, Jaribu Shahid on bass, and Tani Tabaal on drums – and titles include "Oleo", "Out Of Nowhere", "Take The A Train", "Ask Me Now", "Sandu", and "Equinox". CD

Jimmy Castor's a cat who's tried many styles in music – and handled them all surprisingly well – from sweet soul to heavy funk, to Latin grooves, and even the funky club style of this late 70s album for TK Records! The set has Jimmy giving a nod to the disco generation – no surprise, given that TK was a disco powerhouse – but the overall approach is maybe tied more to his mid 70s records for Atlantic – with all the warm humor and funk of those albums! On some tracks, it almost feels like Castor's trying to be a one man answer to the P-Funk army – but other tracks are more personal overall. Titles include "Time", "The Mystery Of Me", "Sweetooth", "The Real McCoy", "Future Place", "Let It Out", and "Bertha Butt Encounters Vadar". CD

A sweet campy disco classic – and a record that's been close to our hearts for years! Celi Bee may have had white hair and a hokey kind of look, but she won us forever with her incredible "Superman" – a five minute homage to the man in red and blue, and the leadoff track on this debut set! "Superman" is a sweet disco number with lots of strings, heavy rhythms at the bottom, and an erotic vocal that seems to offer the big guy more action than Lois Lane ever did. The rest of the tracks follow in a similar sleaze disco mode, and titles include "Smile", "It's Sad", "Hurt Me Hurt Me", "One Love", and "Closer Closer". CD features lots of bonus tracks – "Smile (alt mix)", "Hurt Me Hurt Me (alt mix)", "It's Sad (alt mix)", and 7" mixes of "Superman" and "One Love". CD

A real classic in the canon of American postwar jazz – one of the few albums ever cut as a leader by Boston baritone player Serge Chaloff – one of a handful of musicians who really helped move the instrument forward in jazz, and help it take a rightful place next to the expressiveness of the tenor and alto sax! Even though he hardly got a chance to record, Serge was a hell of a player, and one who has both the rich tone of the instrument completely in hand, while also able to move with the fluidity of a much leaner horn – a quality that's augmented here by the fantastic rhythm work from Sonny Clark on piano, Leroy Vinnegar on bass, and Philly Joe Jones on drums. The set's a treasure through and through – from the cool cover image, to the great music within – served up on tunes that include "How About You", "Handful Of Stars", "The Goof & I", "Susie's Blues", and "All The Things You Are". CD

Don't be put off by the "urban" in the title, which might make you think this is a smooth jazz affair – because this winning session by Joe Chambers is one of his best in years, and a soulfully modern set that has an instantly classic feel! Joe's working with a great group here – Gary Bartz on alto and soprano, Eric Reed on piano, Rufus Reid on bass, and Bobby Sanabria on percussion – grooving in a style that's got a classic 70s soul jazz feel, like some of the better records Joe was associated with during his years at Muse Records. Titles include "Irina", "Portia", "Afreeka", "Stella By Starlight", and "Third Street". CD

Excellent work from this Chicago tenorist – a killer postwar talent who was equal parts jazz and R&B! Although the cover of the record includes a picture of Eddie's wife, Dinah Washington, and the "Friend" in the title would seem to imply that she's on the album, the set's really just a bunch of hard jazz cuts that showcase Eddie's screaming tenor sax, and which don't include Dinah's vocals. Not that that's a problem, though, because the record's a great one, and it's a good peek at player who was one of the biggest in Chicago during the 50's, and who had a loud hard R&B sound, in a mode that was similar to other Chicago players, such as Gene Ammons and Red Prysock. The record's got a number of originals by Chamblee, plus a few tracks written by Julian Priester and Dinah Washington (but did she really write them?). Titles include "Back Street", "Strollin Sax", "Village Square", and "Swing A Little Taste". CD

A totally righteous little record – the only set we've ever seen from Native American vocalist Cheyenne Fowler – and a wicked blend of jazz, soul, and funk – tied together with a really positive spirit! Gene Russell had a hand in putting the set together, and you can definitely hear some echoes of his more spiritual work in the music – and like some of the best underground acts of the 70s, Cheyenne has a way of mixing up all the hippest elements of the left side of the spectrum – then coming up with a sound that's deeply personal, and really unique! The best cuts on the record have a jazz funk approach to soul – with funky keyboard grooving, wah-wah guitar, and tasty horn flourishes over the top – and although Cheyenne's not the greatest vocalist in the world technically, she's got a strong and proud style that really carries the record. Titles include "I Don't Speak With Forked Tongue", "Cheyenne's Coming", "Grooving With You", "It Ain't All About That", "Come Back To Me", "I Love You But I Gotta Go", and "Dream Street". CD

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... LP, Vinyl record album

The pianist's hip take on the music of Chopin – played by his groovy trio with Peter Witte on bass and Charly Antolini on drums! LP, Vinyl record album

... LP, Vinyl record album

This one will confuse the discographers out there – but it's great Blue Note material by this legendary hardbop pianist! The CD reissues a previous Japanese-only set of unreleased material – called Sonny Clark Quintets – but some of the tracks have since come out on other CDs. 2 tracks – "Royal Flush" and "Lover" – feature Clark with a group that includes Art Farmer and Jackie McLean, recorded in 1957. The other 3 tracks – "Minor Meeting", "Eastern Incident", and "Little Sonny" – are from a 1958 session that was cut with Clifford Jordan and Kenny Burrell. Both sets of tracks are great – and although Clark recorded some of these tunes in other versions, the quality on this CD's still extremely high, and is proof that Clark was one of Blue Note's greatest players, worthy of all the extra sessions that were cut in the old days! CD

One of the greatest American albums to be issued under Kenny Clarke's name – a smoking set of boppish tracks that groove in a very early 50s Blue Note sort of way! And in fact, the tracks are a bit longer than the usual Blue Note bop sides, which makes them open up with some even longer solos – and creates plenty of space for the septet lineups to do their thing. The album features 2 different groups – one with Milt Jackson on vibes, Frank Morgan on alto, Walter Benton on tenor, and Gerald Wiggins on piano; the other with Jackson on piano (!), Henry Coker on trombone, Frank Wess on tenor, and Charlie Fowlkes on baritone. Titles include "Inhibitions", "Klook's Nook", "Telefunken Blues", "Skoot", "Sonor", and "Blue's Mood". CD

A rare live set from Otis Clay – much more obscure than his later Japanese album that circulated in the 80s – and captured at a time when Otis was coming off his famous stretch at Hi Records! The set features great small combo backing by an American group – and titles include "Precious Precious", "All Because Of Your Love", "Is It Over", "Turn Back The Hands Of Time", "Trying To Live My Life Without You", "I'm Qualified", "Let Me In", and "I've Got To Find A Way". LP, Vinyl record album

Otis Clay recorded live in Japan – working before a very appreciative audience, and hitting grooves that are right up there with his best 70s work on Hi Records! The sound is a bit looser than Hi – which is a nice change – and Clay's really in command on the set, leading the group with a strong sense of personality, and serving up great vocals with a strong deep soul feel. The grooves are filled with classic Memphis soul moments – and titles titles include "Hard Working Woman", "Ellie", "Trying To Live My Life Without You", "His Precious Love", "Love & Happiness", "Here I Am Baby", and "Love Don't Love Nobody". LP, Vinyl record album

... LP, Vinyl record album

... LP, Vinyl record album

Jimmy Cobb on drums, Eddie Henderson on trumpet, Tadataka Unno on piano, and John Webber on bass. Titles include "Autumn Leaves", "Stella By Starlight", "Dear Old Stockholm", "A Night In Tunisia", and "Remembering U". CD

Mad funk from Dennis Coffey – and the follow-up to his landmark Evolution album! It's interesting to note that Coffey's group is listed as the "Detroit Guitar Band" – which kind of foregrounds their link between the city's two strongest music sides of the late 60s: the hard heavy rock of groups like The Stooges and MC5, and the still-strong soul industry, of which Coffey was a seminal part. But note also that Coffey's the only guy playing guitar on the record, thanks to the magic of overdubs! The album features a funky follow-up to Coffey's earlier hit, called "Son Of Scorpio", plus plenty of other funky guitar numbers like "Capricorn's Thing", "Lonely Moon Child", "Twins Of Gemini", and "The Sagitarian". CD

There's nothing instant about this album from the great Dennis Coffey – as the set marks a continuing evolution of the fantastic guitar sound he forged on the Detroit scene from the late 60s onward – that wicked blend of funk, soul, jazz, and a bit of rock – served up wonderfully here on a set of sweet instrumentals! This album's nicely different than some of Coffey's previous for the Sussex label, as it's got a few cuts that are quite long jams – both in the seven minute range, and with a groove that trips out at times, maybe a bit like Shuggie Otis was doing during the same generation – but with all these really wonderful charts that have odd elements, and almost come across with an unusual soundtrack/sound library vibe! The long cuts are the excellent "Moon Star" and "Outrageous (The Mind Excursion)" – and the set also includes a great remake of the theme to "Enter the Dragon", plus the sweet originals "Chicano" and "Kathy". CD

Leonard Cohen's debut for Columbia, one of the most astounding first albums if its era, and to this day a towering achievement in both songwriting and myth making! The production is that perfectly haunting mix of sparseness and grandeur, with Cohen's lyricism piercing and penetrating wonderfully – his voice never sounded better, and this is certainly one of the great "lightening in a bottle" efforts that was hard to top by Cohen or anyone else in the more poetic upper levels of pop music. Includes "Suzanne", "Master Song", "Winter Lady", "The Stranger Song", "Sisters Of Mercy", "So Long, Marianne", "Hey, That's No Way To Say Goodbye", "Stories Of The Street", "Teachers", and "One Of Us Cannot Be Wrong". CD features two bonus tracks – "Store Room" and "Blessed Is The Memory". CD

An incredible treasure from a lost vocal jazz genius – the little-known Bobby Cole, every bit as great a singer as he was a songwriter, very unusual for the time! Bobby was probably best remembered as the house pianist at Jillys, but at the time of this 1964 recording, he was poised to emerge as a serious vocalist with a rich talent for penning interesting and witty little tunes. The album's got Bobby singing in a style that's halfway between Matt Dennis and Mark Murphy – with the sophisticated talents of both in place, and perhaps a bit of the wit of Bob Dorough or Roy Kral. The original album features Bobby on piano and vocals, with only bass and drums behind him – and the CD features a bonus 6 tracks recorded in more recent years, with larger backings. The core album is completely brilliant – the kind of off-kilter vocal record we die for – and every track's a fresh original by Bobby! Titles include "You Can't Build A Life On A Look", "Heat", "You Could Hear A Pin Drop", "Change Of Scene", "A Perfect Day", "Elegy For Eve", and "Status Quo". CD

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A rare session as a leader from trumpeter Johnny Coles – a player who cut some great work in the groups of James Moody and Gil Evans, but who shines even more brightly on this classic Blue Note album! Coles really has an ear for finding the hippest side of his instrument – and he blows with a style that's unlike anyone else we can think of – and certainly far from the mellower tones of his previous leader set for Columbia. This album's got a great mix of hardbop and modern ideas – right up there with the best Blue Note had to offer at the time – and the group's filled with equally hip players who include Joe Henderson on tenor, Leo Wright on alto and flute, Duke Pearson on piano, Bob Cranshaw on bass, and either Pete LaRoca or Walter Perkins on drums. Titles include "Heavy Legs", "Hobo Joe", "Jano", and "Little Johnny C". Very hip, very hard, and very swingin! CD

One of the less-remembered acts of the Solar Records west coast soul scene – but a great one too – and a group who step out beautifully on this killer set, thanks to great production help from The Whispers! Collage themselves have a tight, funky approach – heavy on basslines and keyboards, and almost setting the stage for Midnight Star – but they also have a nice sense of soul that The Whispers really bring out, especially on the mellower cuts, which may well be our favorites on the record. Titles include the wonderful slow stepper "Feelings" – a complete transformation of the hit to a slow jam soul classic – plus "Money In Your Pocket", "When You Smile", "Special Occasion", "Do You Like Our Music", and their cover of "Groovin". CD features bonus tracks "Groovin (single version)" and "Money In Your Pocket (single)". CD

One of the freest, most exploratory albums ever recorded by John Coltrane – and a unique session done with an expanded group of some of the most important avant jazz players of his generation! The format here is similar to Ornette Coleman's Free Jazz album – in that the music is freely improvised, and spans the entire LP as a non-stop performance – one that has Coltrane in the lead, but which also features alto from Marion Brown and John Tchicai, tenor from Archie Shepp and Pharaoh Sanders, trumpet from Freddie Hubbard and Dewey Johnson – and core rhythms from McCoy Tyner on piano, drums from Elvin Jones, and double basses from Art Davis and Jimmy Garrison. The record set the format for larger improvisatory groups in years to come – but is still one of the best examples of the form! CD features both "editions" of the of the album – making for a double-length set! CD

Japanese compilation with McCoy Tyner on piano, Art Davis, Jimmy Garrison, and Reggie Workman on bass and Elvin Jones and Roy Haynes on drums. CD

With McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums. CD

With McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums. CD

One of numerous posthumous live sides, capturing a great early 60s performance by Trane in a quintet setting. Eric Dolphy joins the classic quartet of Tyner, Jones, Workman and Trane for a lenghty reading of "My Favorite Things" and the contemplative numbers "Blue Train", "Naima" and "Impressions". LP, Vinyl record album

Sharp-edged John Coltrane at his best – a record that we'd rank right up there with Love Supreme, and which is a key transition point in Coltrane's musical ideas! There's a very strong edge to Coltrane's tone here – and even on the mellower ballads, he plays with a sound not always heard before – a quality that's bristlingly modern, and which really opens up on some of the longer numbers on the set. Rhythm is by the classic quartet with McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums – and the sound is always pushing the boundaries towards new ideas, but always keeps nicely inside throughout! Titles include "Crescent", "Wise One", "Lonnie's Lament", and "The Drum Thing". CD

Key 60s material from the great John Coltrane – even if the set wasn't ever released until the late 70s! The album's kind of a "prequel" to the later Meditations record, and it stands as a key bridge between Coltrane's modal years and his more spiritual sounds – delivered here by a core quartet, without the larger accompaniment that graced the later version! The classic quartet is at their best – McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums – and the sound is slightly more inside than later, but no less filled with searching and yearning! CD version contains a 12 minute extended alternate take of "Joy", the centerpiece of the composition. CD

Modal Coltrane at its finest – a record that almost returns the great one to the territory explored at the end of his years at Atlantic Records, but which still incorporates all of the new ideas learned afterwards! The album's actually one of the straightest that John Coltrane cut after 1964 – and it features 4 long, beautiful tracks that soar with rhythms from McCoy Tyner, Jimmy Garrison, and Elvin Jones – topped with searing, searching work on tenor and soprano sax from Coltrane! Titles include one of the greatest readings of "Chim Chim Cheree" we've ever heard – a version that remakes the tune almost as a part 2 of "My Favorite Things" – and other titles include "Song of Praise", the classic "Nature Boy" and "Brazilia". CD

Maybe one of the greatest jazz albums of all time – a real breakthrough moment for the legendary John Coltrane, and the blueprint for generations of jazz records to come! Trane was already breaking down plenty of boundaries before Love Supreme – but he knocked it out of the park for the album – which is a full-length suite of spiritual expression, one that gives even greater focus and message to Coltrane's long-spiralling style of soloing on the tenor sax! The group here is the classic quartet – McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums – taking Trane up to the heavens on waves of modal energy, but also holding his spirit closer to the planet than on some of later, more outside performances. There's a slight bit of vocalization on the record – that chanted energy that imbues the set with so much love – and movements include "Acknowledgement", "Resolution", "Pursuance", and "Psalm". CD

Fantastic live work from the year 1961, when Dolphy was working briefly with Coltrane, and the pair were forging some incredible new standards for jazz! The pair have been heard extensively on the famous Village Vanguard sessions for Impulse, but this European material is equally strong, and features some incredibly adventurous moments. The group's a quintet with McCoy Tyner, Reggie Workman, and Elvin Jones – and tracks include "Impressions" (2 versions), "Every Time We Say Goodbye", "Naima", "Blue Train", and 2 versions of "My Favorite Things". CD

Straight, clear, and soulful work from Ravi Coltrane – one of the best albums of his we've ever heard, recorded with an uncluttered brilliance that shows how much he's grown as a player! The format's similar to some of the classic 60s Wayne Shorter albums on Blue Note – tenor, piano, bass, and drums – arcing in modal, searching statements, couched in a rich tradition of soulful blowing. Titles include "The Mad 6", "Return Of Olymbus", "Ask Me Now", "Fifth House", and "Self Portrait In 3 Colors". CD

Wicked early funk from The Commodores – a group that spent so much time on pop ballads in later years, it's hard to believe they could be this sharp and hard-edged! There's plenty of that bass-heavy style that would later dominate many Motown combos at the end of the 70s – but the group's really in control of the groove on this one, without any of the cliches that such bassery could lead them into – and production is nicely restrained, so that the whole thing has the loose, live feel of some of the best ensemble funk of the time – even some of the gems from the underground. Lionel Ritchie contributed one nice smooth soul number, "This Is Your Life", and the rest of the album includes "Let's Do It Right", "Wide Open", "The Bump", "Look What You've Done To Me", and the funk classic "Slippery When Wet". CD

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A nice Japanese-only set – featuring late 40s work from guitarist Eddie Condon! LP, Vinyl record album

... LP, Vinyl record album

A lovely side by Chris Connor for Atlantic, recorded not too long after her stint at Bethlehem – where she'd perfected an icy cool style of singing that's still to be matched to this day! The album features larger arrangements by Richard Wess – but still has a light jazzy feel, intimate in approach, despite the larger musical backings. Chris' voice is at once personal and removed – a razor's edge of emotion, repressing some impulses, and opening up surprisingly at other moments. Titles include "Skyscraper Blues", "The Lady Sings The Blues", "Come Rain Or Come Shine", "When Sunny Gets Blue", "Just In Time", "Baltimore Oriole", and "How Little We Know". CD

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The drums are definitely exciting here – really tight rhythms that drive most of these cuts into a funky frenzy – even if the groove is more based on American soul of the late 60s than the African rock promised in the title! Most of the tunes are covers, but remade here as really hip instrumentals – often with bold work from the Count on his drum kit – which then sets fire to the larger group's blend of tight horns and electric rhythmic instrumentation – all coming across with that perfect cusp of the 70s Japanese jazz sound we love so much! Most tracks are shortish, and very groovy – and titles include "The Cat", "Touch Me", "Amen", "Soul Limbo", "Hold Tight", "Otis Sleep On", "Sidewinder", "Going Up The Country", and "Windy". LP, Vinyl record album

The massive first album from Creative Source – a really unique group who really helped push the ensemble vocal mode forward in the 70s! The mixed male/female lineup recalls similar groups of the late 60s – but Creative Source also have a deeper, hipper style that comes through right away – a good ear for jazz in their phrasing, and an ability to get past any of the hoke of more sing-song gal/guy groups. The tunes are very progressive, and the album features sublime arrangements from Skip Scarborough – who's working here in a wonderful realization of the style he'd work later for so many other artists. The group does a classic rendition of Scarborough's "You Can't Hide Love", which was a hit for Earth Wind & Fire, plus nice covers of two tracks by Sussex labelmate Bill Withers – "Who Is He & What Is He To You" and "Let Me In Your Life". Also includes the group's own "Oh Love", which is a nice groover – plus "Magic Carpet Ride", "Wildflower", and "Lovesville". CD

A fantastic album from Sonny Criss! The record is one of his excellent late 60s "comeback" sides for Prestige – and it features incredibly solid, confident, and hard alto solos, blown with a tremendous amount of imagination. Bob Cranshaw and Alan Dawson provide excellent rhythm accompaniment, and Cedar Walton's a genius on piano, providing just the right touches to give the album a sense of mature whimsy that makes the selection of tracks work perfectly in a jazz setting. There's a lot of room here, and him and Sonny intertwine constantly in a beautiful lyrical way that never gets too sentimental. Titles include "Ode To Billie Joe", "Somewhere My Love", "The Beat Goes On", and "Georgia Rose". CD