A seminal set from Max Roach – the start of his more righteous stretch in jazz, as you might guess from the title of the album! At some level, the record's got a bit of the feel of the post-Clifford Brown Mercury years from Roach – but at another, it's stretching out towards the directions Max would explore fully on the Candid, Impulse, and Fantasy labels in the 60s – an approach to hardbop that often really pushes its limits – not content to simply set up solos for the players, and instead moving with a much more forceful energy overall! Group members include Booker Little on trumpet, George Coleman on tenor, Ray Draper on tuba, and Art Davis on bass – and the lack of a piano makes for a very exciting sound! The album's got 2 great originals by Bill Lee – "Jodie's Cha Cha" and "Deeds Not Words" – plus Draper's classic "Filide", and the groundbreaking "Conversation" – a very cool solo by Roach on the drums! CD also features the bonus track "There Will Never Be Another You" – with Oscar Pettiford on bass instead of Davis. CD

A pair of early albums from soul singer Rockie Robbins – back to back on a single CD! First up is his self-titled record from 1979 – a really nice album of smooth soul tracks – the first set by singer Rockie Robbins, and a masterful effort from the Chicago soul production team of Richard Evans and Johnnie Pate! Evans and Pate handle the work with their best care of the 70s – fitting the tunes to the modern soul style demanded by the material, but also keeping things real at every level, and throwing in that nice little Chicago swing that always makes their best work bounce! Titles include "I Can Hardly Wait", "If I Ever Lose You", "When I Think Of You", "I Love You Only", "Be Ever Wonderful", and "Don't Deny Me". Next is You & Me – great work from the wonderful Rockie Robbins – a smooth soul singer who cut some great sides at the start of the 80s, but who hardly ever gets his due! Bobby Martin's working with Rockie on this effort – giving the set that warmly gliding mode that made Martin's productions some of the best in late 70s mainstream soul – a sound that's clearly informed by Philly, but which also has room for mellower, and more sophisticated modes as well. Tracks include a number of Sam Dees compositions – "Hang Tough", "After Loving You", "Girl I'm Gonna Get Ya", and "For The Sake Of A Memory" – plus the tracks "Together", "Point Of View", "Lost In Love Again", and "I Never Knew". CD

A great bit of funky guitar work from Freddie Robinson – a player who clearly started out with a bluesy backing, but managed a real super-dope sound by the time of his 70s work for Stax! Part of the sound is that Freddie's using a hollow-body electric – giving him a style that's a bit like Little Beaver on the best tracks. Freddie sings a bit on the set, but his guitar play's his strongest suit – and he's backed here by electric piano from Monk Higgins, and keyboards from Joe Sample! Tracks include "Smoking", "Off the Cuff", "Rivers Invitations", "Try It One Time", and "Medicine Man". LP, Vinyl record album

A lean and spooky little set from the Rockers All Stars – put together with killer production from Augustus Pablo and Everton Da Silva! The vibe here is in the moodiest territory that Pablo might explore on albums under his own name – and although the father is providing help, it's clear that the group can make plenty of fantastic magic on their own! The set was mixed at King Tubby's and Harry J's – and although we're guessing the proceedings were laidback and casual, the record's gone on to become an underground dub classic over the years. Titles include "Hammer Dub", "Fire Dub", "Jah Dub", "Money Dub", "Static Dub", "Equal Rights Dub", and "Clean Sweep". LP, Vinyl record album

The title's an apt one here, as Jimmy Rogers was one of the many bluesmen who started out in the south, but headed to Chicago for greater fame – which was a good thing for Chess Records, who managed to come some of these great sides in the 50s! Rogers both sings and plays guitar – the later of which has a sometimes snakey quality that almost echoes a slight bit of jazz – a mode that recalls some of the inventions T Bone Walker was putting down at the time, but a little bit rootsier overall. Players on these sessions include Muddy Waters, Little Walter, Otis Spann, and Willie Dixon – and tracks include "Money Marbles & Chalk", "Ludella", "You're The One", "Back Door Friend", "I Used To Have A Woman", "Sloppy Drunk", "Blues Leave Me Alone", and "Walking By Myself". LP, Vinyl record album

An album that some thought might mark the final years of The Rolling Stones – as it came out as Mick Jagger was reaching 40 – but one that instead marked a great rebirth of the group and its sound, and set a whole new standard for the group for years to come! The opening lick of the first track, "Start Me Up", has become one of The Stones trademark sonic fingerprints – and the whole thing keeps on moving strong, through titles that include "Hang Fire", "Slave", "Black Limousine", "Worried About You", "Waiting On A Friend", "No Use In Crying", "Tops", and "Little T & A". LP, Vinyl record album

Tremendous work from Sonny Rollins – one of his most sharp-edged sessions of the mid 60s, and a bold departure from some of his previous work for RCA, with a crackling sense of energy that more than lives up to the exclamation point in the title – a starker quality than some of Sonny's earlier records, and one that brings out some sharper tones in his horn, even on the mellower numbers. The rhythm support is loose, but somewhat soulful and spontaneous – and features Ray Bryant on piano, Walter Booker on bass, and Mickey Roker on drums – an unusual pairing for Sonny, but that's what makes them so great. In a way, the album's almost Rollins' equivalent of John Coltrane's earlier Ballads album for Impulse – in that it includes familiar tunes, but remade into completely new numbers by the sound of the leader. Titles include "Green Dolphin Street", "Three Little Words", "Hold Em Joe", "The Blue Room", plus "Alfie's Theme". LP, Vinyl record album

A tremendous little album from Sonny Rollins – one of his most sharp-edged sessions of the mid 60s, and a bold departure from some of his previous work for RCA! The album has a crackling sense of energy that more than lives up to the exclamation point in the title – a starker quality than some of Sonny's earlier records, and one that brings out some sharper tones in his horn, even on the mellower numbers. The rhythm support is loose, but somewhat soulful and spontaneous – and features Ray Bryant on piano, Walter Booker on bass, and Mickey Roker on drums – an unusual pairing for Sonny, but that's what makes them so great. In a way, the album's almost Rollins' equivalent of John Coltrane's earlier Ballads album for Impulse – in that it includes familiar tunes, but remade into completely new numbers by the sound of the leader. Titles include "Green Dolphin Street", "Everything Happens To Me", "Three Little Words", and "Hold Em Joe". CD

A tremendous little album from Sonny Rollins – one of his most sharp-edged sessions of the mid 60s, and a bold departure from some of his previous work for RCA! The album has a crackling sense of energy that more than lives up to the exclamation point in the title – a starker quality than some of Sonny's earlier records, and one that brings out some sharper tones in his horn, even on the mellower numbers. The rhythm support is loose, but somewhat soulful and spontaneous – and features Ray Bryant on piano, Walter Booker on bass, and Mickey Roker on drums – an unusual pairing for Sonny, but that's what makes them so great. In a way, the album's almost Rollins' equivalent of John Coltrane's earlier Ballads album for Impulse – in that it includes familiar tunes, but remade into completely new numbers by the sound of the leader. Titles include "Green Dolphin Street", "Everything Happens To Me", "Three Little Words", and "Hold Em Joe". LP, Vinyl record album

A tremendous little album from Sonny Rollins – one of his most sharp-edged sessions of the mid 60s, and a bold departure from some of his previous work for RCA! The album has a crackling sense of energy that more than lives up to the exclamation point in the title – a starker quality than some of Sonny's earlier records, and one that brings out some sharper tones in his horn, even on the mellower numbers. The rhythm support is loose, but somewhat soulful and spontaneous – and features Ray Bryant on piano, Walter Booker on bass, and Mickey Roker on drums – an unusual pairing for Sonny, but that's what makes them so great. In a way, the album's almost Rollins' equivalent of John Coltrane's earlier Ballads album for Impulse – in that it includes familiar tunes, but remade into completely new numbers by the sound of the leader. Titles include "Green Dolphin Street", "Everything Happens To Me", "Three Little Words", and "Hold Em Joe". LP, Vinyl record album

A definite masterjam from Chaka Khan and Rufus – one of the group's last key efforts together – produced to perfection by the mighty Quincy Jones! Chaka's vocals are sublime right from the start – taking on the soaring majesty she'd use on her initial solo recordings – and the group's tighter than ever – really hitting the right mix of jazzy funk and soul to make the whole thing come together perfectly. Greatness like this only gets better with years – and this sweet little album is more than proof of that fact! Tracks include a version of "Body Heat", plus "Heaven Bound", "Live In Me", "Any Love", "Do You Love What You Feel", and "What Am I Missing". LP, Vinyl record album

A brilliant 80s set from Pharoah Sanders – a record that has him a much more understated setting than some of his other albums from the time – but one that's maybe even more soulful and searching overall! The great one plays blistering tenor right from the start – in a quartet with John Hicks on piano, Curtis Lundy on bass, and Idris Muhammad on drums – all players who have this way of doing a lot with a little, especially in the rhythm department – where they seem to give Sanders some of his strongest sense of groove since the key albums for Theresa. Muhammad's got this tight sense of timekeeping, but with a looseness that we love – and Lundy's warm soulful bass does more than enough to give the set a sound bottom – and Hicks' free lyrical piano works nicely with Sanders' spiritual horn. Titles include a remake of "You've Got To Have Freedom", plus "Naima", "Origin", "Speak Low", "After The Morning", and "Africa". Also features the tracks "Duo" and "Heart To Heart" – not on the vinyl release! CD

A brilliant 80s set from Pharoah Sanders – a record that has him a much more understated setting than some of his other albums from the time – but one that's maybe even more soulful and searching overall! The great one plays blistering tenor right from the start – in a quartet with John Hicks on piano, Curtis Lundy on bass, and Idris Muhammad on drums – all players who have this way of doing a lot with a little, especially in the rhythm department – where they seem to give Sanders some of his strongest sense of groove since the key albums for Theresa. Muhammad's got this tight sense of timekeeping, but with a looseness that we love – and Lundy's warm soulful bass does more than enough to give the set a sound bottom – and Hicks' free lyrical piano works nicely with Sanders' spiritual horn. Titles include a remake of "You've Got To Have Freedom", plus "Naima", "Origin", "Speak Low", "After The Morning", and "Africa". Also features the tracks "Duo" and "Heart To Heart" – not on the vinyl release! CD

A brilliant 80s set from Pharoah Sanders – a record that has him a much more understated setting than some of his other albums from the time – but one that's maybe even more soulful and searching overall! The great one plays blistering tenor right from the start – in a quartet with John Hicks on piano, Curtis Lundy on bass, and Idris Muhammad on drums – all players who have this way of doing a lot with a little, especially in the rhythm department – where they seem to give Sanders some of his strongest sense of groove since the key albums for Theresa. Muhammad's got this tight sense of timekeeping, but with a looseness that we love – and Lundy's warm soulful bass does more than enough to give the set a sound bottom – and Hicks' free lyrical piano works nicely with Sanders' spiritual horn. Titles include a remake of "You've Got To Have Freedom", plus "Naima", "Origin", "Speak Low", "After The Morning", and "Africa". Also features the tracks "Duo" and "Heart To Heart" – not on the vinyl release! Great 2CD version – with a bonus CD that features two alternates of "Speak Low", and one more of "After The Morning". CD

An incredible album – and one of the most groundbreaking blends of jazz and global music ever recorded! Reedman Tony Scott plays here with a little-known group of Indonesian jazz players – brought together in a special project for MPS/Saba records, in a blend of modal jazz elements and other tunes that really find a way to echo the gamelan styles that you might expect from Indonesian music – emphasized by the group's phrasing on piano, guitar, and siter, as well as Scott's interweaving lines on clarinet! The sound is fantastic, completely other worldly, and must be heard to be believed – served up with other players who include Marjono on tenor and vocal, Bubi Chen on piano and sitar, Jack Lesmana on guitar, Yopi Chen on bass, and Benny Mustafa on drums. Tracks include "Ilir Ilir", "Gambang Suling", "Djanger Bali", and an amazing rendition of "Summertime". LP, Vinyl record album

Maybe the warmest record by the Sea & Cake – drawing a lot more from their earlier The Biz and Sam Prekop's solo album than their previous The Fawn, adding strings to a lot of the melodies instead of the electronic sounds. Sunny avant pop that manages to pull off a little bit of soulfulness with their trademark laidback charm. Tracks include "Afternoon Speaker", "All The Photos", "You Beautiful Bastard", "The Colony Room", "The Leaf", "Everyday", "Two Dolphins", "Midtown", "Seemingly", and "I Missed The Glance". 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

A fuzzy, freaked-out classic from one of the coolest groups to work on the Chicago scene of the 60s – the mighty Shadows Of Knight, easily one of the best garage acts of their time! The album's got a raw power that's undeniable – a gritty sound that almost beats the Boston, Texas, and Sunset Strip scenes at their own game – as sharp guitars, weird Hammond, and plenty of feedback come together to blow away the listener right from the start – all with a sound that's a lot more heady than the group's better-known "Gloria" hit, with a far-reaching vibe that makes us wish these guys had kept on recording a few more years longer – because they might have given some of the best European psych acts a real run for their money! Titles include "Bad Little Woman", "The Behemoth", "Three For Love", "Peepin & Hidin", "Gospel Zone", "High Blood Pressure", and "Tomorrow's Going To Be Another Day". LP, Vinyl record album

The weird, raw and legendary debut of teen trio The Shaggs – recorded in a single day and issued by the Third World label back in the day, before slowly building a devoted cult following over the years! The Shaggs story of a young girl group and their dad manager dreaming big and hoping for stardom, but the stunningly primitive sound actually makes the patron saints of outsider art rock and indie rock to come – it's messy and amazing to this day! Odd and hypnotic, it's an outsider classic unlike any other. Includes "Philosophy Of The World", "That Little Sports Car", "Who Are Parents", "My Pal Foot Foot", "My Companion", "I'm So Happy When You're Near", "Things I I Wonder", "It's Halloween", "Why Do I Feel?", "What Should I Do", "My Companion", "Sweet Thing", "We Have A Savoir" and more. LP, Vinyl record album

A great little record in the sort of format that always worked well for Archie Shepp during this point in his career – a new take on older modes, and one that balances the tenorist perfectly between his avant jazz roots and that new appreciation of standards that started to take hold in the late 70s! The format is very lean – just the bass of Richard Davis for accompaniment – and Davis' round tone provides a lot of grounding that lets Archie stretch out, soar, and bring in all these raspy edges that really keep things interesting, and which keep the record on very soulful footing throughout! Tracks include "Body & Soul", "Pannonica", "Round Midnight", and "Things Ain't What They Used To Be". CD

A great little record in the sort of format that always worked well for Archie Shepp during this point in his career – a new take on older modes, and one that balances the tenorist perfectly between his avant jazz roots and that new appreciation of standards that started to take hold in the late 70s! The format is very lean – just the bass of Richard Davis for accompaniment – and Davis' round tone provides a lot of grounding that lets Archie stretch out, soar, and bring in all these raspy edges that really keep things interesting, and which keep the record on very soulful footing throughout! Tracks include "Body & Soul", "Pannonica", "Round Midnight", and "Things Ain't What They Used To Be". LP, Vinyl record album

A real standout from Frank Sinatra's years at Reprise – an album that shows the singer working at the full height of all his vocal and emotional powers! The set's not the live album you might guess from the title – and instead, the "concert" setting means that Nelson Riddle uses a very full orchestra on the date – giving Sinatra this wonderfully rich sound that provides the perfect showcase for heartfelt, thoughtful readings of tunes from big shows. One of our all-time Sinatra favorites is the album's sublime reading of "Soliloquy" from Carousel – some of Frank's best acting on record – and other tunes include "Lost In The Stars", "My Heart Stood Still", "Bewitched", "This Nearly Was Mine", and "I Have Dreamed". CD

Includes "Stella By Starlight", "But Beautiful", Body & Soul", "Where Or When", "When Your Lover Has Gone", "Strange Music", "Goodnight, Irene", "Dear Little Boy Of Mine", "Mighty Lak' A Rose", "Cradle Song", "Nature Boy", and "All The Things You Are". LP, Vinyl record album

The coolest collection of work we've ever seen from Nancy Sinatra – a package that goes way past her 60s hits to include a host of lesser-known gems, non-LP singles, rarities, and even a few unissued tracks as well – all presented in a lavish setting that's as vivid as the image on the cover! As you can guess, much of the magic here also comes from Lee Hazlewood, whose studio talents really allows Sinatra to find that special sort of sexy quality that she never seemed to have at the start of her recording career. The whole thing is a great addition to the too few Nancy Sinatra albums of top shelf quality – and titles include a previously unreleased duet with Lee Hazlewood on "I Just Can't Help Believing", the unissued tracks "Something Pretty" and "Do I Hear A Waltz" – and the cuts "Drummer Man", "Shades", "Easy Evil", "Ain't No Sunshine", "Kinky Love", "Sugar Me", "Dolly & Hawkeye", "This Town", "Tony Rome", "100 Yars", "See The Little Children", "Zodiac Blues", "Flowers In The Rain", "Are You Growing Tired Of My Love", "The Last Of The Secret Agents", and "The City Never Sleeps At Night". LP, Vinyl record album

Nancy Sinatra recording in London, but still getting some heavy help from Lee Hazlewood – who wrote about half the tracks on the record, and also guest stars on one number too! The backings are fuller than some of Nancy's other Reprise albums – clearly going for some of the jaunty modes of UK girl pop of the time – but most numbers still have that undeniable Nancy charm, sung in breathy vocals that still seem to have their own space away from the larger orchestrations. Titles include "Friday's Child", "Hutchinson Jail", "Shades", "This Littler Bird", "I Can't Grow Peaches On A Cherry Tree", "The End", and "Step Aside" – plus "Summer Wine", which features Lee. LP, Vinyl record album

Pure genius from this hardly-heard group – a really wonderful little record that mixes soul and funk with some slight Latin touches as well – all in a blend that's as incredible as the record is rare! The group have this really warm vibe on the vocal numbers – a mix of female lead and chorus bits that's not unlike Voices Of East Harlem, and equally righteous too. But there's also some instrumental bits that are even harder and heavier – almost funky descarga numbers with some really jamming instrumentation, including some fuzzy vibes at one point that almost recall Stark Reality. Titles include "Getting It Down", "Through No Fault Of Our Own", "It's Wonderful Baby/Gina", "Come On And Stay With Me", "Stuff N' Thing", 'Keep On Keepin' On", "Babylon", "Reality", "Judgement Day", and "My People". LP, Vinyl record album

Early 70s Cali country rock at its finest! This is the first album by Detroit-born, Texas-raised JD Souther – who has a deft hand for sadness-tinged songcraft, a charismatic and genuine southern drawl to his voice, and just enough grit to give his tunes the right kind of emotional undercurrent. There's a realness here that really sinks in. We sort of wish he would've shot to stardom is prominently as other Asylum singer-songwriters and his friends in The Eagles – he definitely deserves it – but there's something warm and cozy (and maybe a little selfish) about having him more to ourselves and other knowing fans. Includes "The Fast One", "Run Like A Thief", "Kite Woman", "Jesus In 3/4 Time", "It's The Same", "White Wing", "Out To Sea", "Lullaby" and more. LP, Vinyl record album

Four albums from this wonderful group – all brought together in a single set! First up is the self-titled Spanky & Our Gang – the first, and perhaps the most conventional album by the group, but still pretty darn insane! Spanky & Our Gang are a strange mix of 60s styles – with bits of We Five, bits of Harpers Bizarre, bits of The Association – but a totally strange and totally fun approach to pop that's very much their own. Cuts on the album are a mix of originals and covers – and highlights include the incredible "5 Definitions Of Love" by Bob Dorough, "Distance" by Joe Renzetti, "Commercial" by the band, and the track "It Ain't Necessarily Bird Avenue". Great groovy stuff – and with arrangements by Renzetti, Dorough, and Stuart Scharf. Like To Get To Know You is a tiny little pop masterpiece was produced and arranged by Stuart Scharf and the great Bob Dorough, and is filled with one of the grooviest approaches to pop we've heard in ages. The album includes the sublime hit "Like To Get To Know You", set in a very different LP setting – plus great versions of "Suzanne" and "Everybody's Talkin", and the cuts "Stardust", "The Swingin Gate", and "My Bill". Anything You Choose is the third movement in the fantastic pop symphony that is Spanky & Our Gang! The record's perhaps their oddest to date – and mixes groovy vocal stylings with some fairly advanced production approaches that work perfectly with the incredible songs written by Stuart Scharf and Bob Dorough. The voices swirl about in a mad rush – interweaving lines of melody and poetry, punctuated by strange sounds, spacey airy instrumentation, and wonderful little rhythms. Titles include "Anything You Choose", "1-3-5-8", "Without Rhyme Or Reason", "Give A Damn", and "Nowhere To Go". Live is an unusual album from this groovy group – especially given that most of their famous work was in the studio – and done with really inventive arrangements and production! Yet those qualities still come through here, even in a live setting – as the record's got this stripped-down approach that shows just how much of the group's own inventive vocal interplay and harmonies were part of their fantastically groovy style! Titles include "Wasn't It You", "Dirty Old Man", "The Klan", "Nagasaki", "Amelia Earhart's Last Flight", and "That's What You Get For Lovin Me". CD

A tremendous collection of early work by The Spinners – their sublime second album for Motown, plus 13 additional bonus tracks, most of which appear here for the first time ever! The core of the set is the 2nd Time Around album – pre-Philly magic from The Spinners – a wonderful early album recorded for Motown – done with a heady Detroit sound that's quite different than their later work in the 70s! The album already has the group sounding amazing on the harmonic tip – definitely a cut above the groups that came before them – with that brilliant Spinners ability to harmonize heavily while still hitting a groove! Arrangements are by Paul Riser, Wade Marcus, and David Van DePitte – all of whom keep things full, but never overblown – presenting music with a perfect polish for the group, but in quite different ways than the later Philly groove. Titles include the classic original version of "It's a Shame", plus "My Lady Love", "Souly Ghost", "Ooh Child", "In My Diary", "My Whole World Ended", "I've Got To Find Myself A Brand New Baby", "Bad Bad Weather", and "Pay Them No Mind". But the bonus tracks are pretty amazing, too – really showcasing the group as they grew tremendously in a few short years – on gems that include "I Can't Let You Go", "Sunshine Train", "Mental Telepathy", "Satisfaction Guaranteed", "Why Don't You Try It", "Just A Little Part Of Your Life", "Sadder Words Were Never Spoken", "Don't Take Your Love Away I Can't Stand It", "Your Sweet Love Is All I Need", "Gonna Keep On Tryin Till I Win Your Love", and "When It Starts To Rain It Pours". CD

A real treasure of sweet harmony pop from the late 60s – and the kind of record that broke big on the blue-eyed soul scene! The title hit – "More Today Than Yesterday" – is a familiar number that still sounds great to our ears. And the rest of the records got a similarly great style – arranged by Al Capps with some warm and jazzy undertones – a bit like Sunshine Pop of the time, but with styles that also seem to borrow a lot from late 60s Philly soul. Titles include "Sweet Little Thing", "More Today Than Yesterday", "The Thought Of Loving You", "Since I Don't Have You", "Our Day Will Come", and "Broken-Hearted Man". LP, Vinyl record album

A trippy little combo with a distinct post-Coltrane feel – stretching out here wonderfully, on a hip little session on a homegrown label! The group hail from the unlikely spot of Las Vegas – but they've got a deeply spiritual sound that rivals the best work on the coasts in the early 70s – a very searching, righteous sort of groove – crafted beautifully from the tenor sax lines of Rick Davis, and the sweet Fender Rhodes of Ron Feuer! The album's filled with long, exploratory tracks – tunes that are free, but never too much so – and the mixture of electric keys and tenor works nicely throughout – giving the album a really unique and unified feel that sets it apart from other small jazz sets of its type. All tunes are originals by the group – and titles include "Vibrations", "Starship", "Spirit Free", and "Isis Unveiled". CD features 3 bonus tracks too – "Horizon", "Starship (alt)", and "Dear Latin Friend". CD

There's only one brother in this funky little record – Finnish drummer Teddy Rok, who you might know from some great soulful sets from years back – working here in a lean style that blends funky drums with plenty of other spare instrumental touches! The set's a funk record that's fully informed by hip hop as well – with Teddy playing things in these stark styles that really sound great next to the beats – leading out with plenty of Fender Rhodes, vibes, and other warm instrumentations that speak volumes on the set, even though there's almost no vocals at all! There's a depth here that's missing from so many other contemporary projects of this nature – which is a strong testament to Teddy Rok's years of making great funk and soul records in other formats – as you'll hear on titles that include "Deeper Toner", "Rain Diamond", "Sao Paulo", "Further East", "Futuristic Earth", "King Cesar", and "Duktus". CD

There's only one brother in this funky little record – Finnish drummer Teddy Rok, who you might know from some great soulful sets from years back – working here in a lean style that blends funky drums with plenty of other spare instrumental touches! The set's a funk record that's fully informed by hip hop as well – with Teddy playing things in these stark styles that really sound great next to the beats – leading out with plenty of Fender Rhodes, vibes, and other warm instrumentations that speak volumes on the set, even though there's almost no vocals at all! There's a depth here that's missing from so many other contemporary projects of this nature – which is a strong testament to Teddy Rok's years of making great funk and soul records in other formats – as you'll hear on titles that include "Deeper Toner", "Rain Diamond", "Sao Paulo", "Further East", "Futuristic Earth", "King Cesar", and "Duktus". LP, Vinyl record album

A really cool bit of 70s AOR – a set that feels like it's got some southern rock currents at the core, but which features very cool northern production and arrangements – including some cool funky moments that really make the record great! The vocals often have a bit of processing – kind of a cool flangey, watery sort of style that makes the lead of Bruce Blackman sound cool and compelling – and Blackman himself produced the set, and clearly found the right setting for his talents! Titles include "Lash LaRue", "Drop A Little Rock", "I Got To Know", "Lucky Man", "So The Night Goes", "Moonlight Feels Right", and "The Slower You Go". CD

An overlooked AOR gem from this cool southern group – one who've got a nicely funky vibe at times, and a style that creates this different spin on LA styles of the period! The vocals have an electrified vibe that works very well with the keyboards and guitar – and there's plenty of soulful currents in the rhythms that almost make some of the best cuts sound like the midtempo AWB gems from the late 70s! Titles include "City Of The Future", "Call Me", "Sunset Eyes", "A Fool In Line", "Little Bird", and "Fat Boy". CD

A record that no home should be without – and a stunning set that still carries all the raw power it did way back in 1969! The album's an apocalyptic vision of the future – a future it helped to shape, give its influence over the years – and from start to finish, the whole thing is brilliant – from the raw energy of the band, to the sneering lyrics of Iggy Pop, to the perfect production by John Cale – who's opening up a whole new side of his genius with his studio work here. The set begins with the boldly declarative "1969" – maybe one of our favorite Stooges songs ever – then moves into the landmark "I Wanna Be Your Dog", over to the ten minute freakout of "We Will Fall", to the classic "No Fun", through the cuts "Real Cool Time", "Ann", "Not Right", and "Little Doll". Imitated by many, but never done this well again – and a record that will most likely still be blowing the minds of our grandkids! CD

A record that no home should be without – and a stunning set that still carries all the raw power it did way back in 1969! The album's an apocalyptic vision of the future – a future it helped to shape, give its influence over the years – and from start to finish, the whole thing is brilliant – from the raw energy of the band, to the sneering lyrics of Iggy Pop, to the perfect production by John Cale – who's opening up a whole new side of his genius with his studio work here. The set begins with the boldly declarative "1969" – maybe one of our favorite Stooges songs ever – then moves into the landmark "I Wanna Be Your Dog", over to the ten minute freakout of "We Will Fall", to the classic "No Fun", through the cuts "Real Cool Time", "Ann", "Not Right", and "Little Doll". Imitated by many, but never done this well again – and a record that will most likely still be blowing the minds of our grandkids! LP, Vinyl record album

A record that no home should be without – and a stunning set that still carries all the raw power it did way back in 1969! The album's an apocalyptic vision of the future – a future it helped to shape, give its influence over the years – and from start to finish, the whole thing is brilliant – from the raw energy of the band, to the sneering lyrics of Iggy Pop, to the perfect production by John Cale – who's opening up a whole new side of his genius with his studio work here. The set begins with the boldly declarative "1969" – maybe one of our favorite Stooges songs ever – then moves into the landmark "I Wanna Be Your Dog", over to the ten minute freakout of "We Will Fall", to the classic "No Fun", through the cuts "Real Cool Time", "Ann", "Not Right", and "Little Doll". Imitated by many, but never done this well again – and a record that will most likely still be blowing the minds of our grandkids! LP, Vinyl record album

Stringbean may look a bit silly on the cover, but he's a dead serious banjo player – one of the greats of his generation, and an artist who's sometimes overlooked on his instrument, because of a penchant for humor in his live performances! And although some of the songs here have a bit of wit at the start, once things get going, Stringbean's in that great mix of old time styles that the Starday Records label was hitting hard in the 60s – one of the few strong outlets for more country-flavored work on banjo, at a time when so many of the folk revival kids wanted things steered a bit more their way! Needless to say, you probably never would have caught Stringbean headlining a club in the Village – but that difference is what makes a record like this so great to discover – as you'll hear on titles that include "Birdie", "Don't Bob Your Hair Girls", "Herdin Cattle", "Keep My Skillet Good & Greasy", "Give Me Back My Five Dollars", and "Wake Up Little Betty". CD

Johnnie Taylor's first album for Stax – and a tremendous little set that easily stands as one of his greatest records ever! Sure, we love Johnnie in all his incarnations – but there's a special sort of something here – a rawness and earnestness – that makes the whole thing shine right from the start – a crispy sort of Memphis vibe that has the Stax Records team really hitting their stride. The set's filled with great tunes from the team of Isaac Hayes and David Porter – including "I Got To Love Somebody's Baby", "Toe Hold", "Outside Love", "Little Bluebird", and "I Had A Dream" – and also features great versions of "Watermelon Man", "Ain't That Loving You", and "Where Can A Man Go From Here". LP, Vinyl record album

A great little collection of work by the Temptations – stretching back to their early days at Motown, and sticking with the group through the 70s, and into the early 90s. The package is quite nicely done – better than the average Motown "best of" – and titles include "It's Growing", "Psychedelic Shack", "Superstar", "Just My Imagination", "Hey Girl", "Let Your Hair Down", "Shakey Ground", "Power", "Ain't Too Proud To Beg", "Cloud Nine", "I'm Gonna Make You Love Me", "Runaway Child Running Wild", "I Can't Get Next To You", "Ball Of Confusion", "Don't Look Back", and "Dream Come True". Steppers take note: the CD also features the 12" surgery mix of "The Joneses". 27 tracks, with rare photos, and new notes by Otis Williams! CD

"Papa Was Too" is one of Joe's big tracks with the breakbeat crowd – starting with a tight snapping intro that never goes out of style, and which is a monster little break! It's also sort of his answer to Otis Redding's "Tramp"! 7-inch, Vinyl record

A wild little record – one that was issued under the name of Flying Dutchman label headman Bob Thiele – but which actually features work from some of the grooviest artists on the label at the time – including Tom Scott, Ornette Coleman, Jon Appleton, John Carter, Horace Tapscott, and Bobby Bradford! The package has a very different feel on each of the album's four sides – and side one is a tremendous showcase for the young reedman Tom Scott – working here in a cool mix of electric and acoustic instrumentation that's similar to his other records of the time – including organ, vibes, and some nice funky touches as well. Side two features an exploration of the history of jazz – but one that progresses quickly from early modes to hipper ones – showcasing the talents of John Carter on tenor, Bobby Bradford on trumpet, and Horace Tapscott on piano! Side three is a mighty dedication to the late John Coltrane – played at first by a trio with Joe Farrell on flute, Wilbur Ware on bass, and Elvin Jones on drums – then moving into a mix of Farrell's flute and narration by Rosko – then a performance by the Ornette Coleman quartet. And side four is especially mindblowing, as it's comprised of lone long piece by Jon Appleton's Syntonic Menagerie – a mix of sound samples, tape tricks, and jazz – as a commentary on The American Indian, JFK, and Martin Luther King. The whole thing's a great illustration of the Flying Dutchman label at its most revolutionary – and titles include "Head Start", "Freaky Zeke", "Lanoola Goes Limp", "Swing Era", "In The Vineyard/Avant Garde", "Love Supreme", "Lament For John Coltrane", and "A Few Thoughts For The Day". CD also features a rare bonus track – "The Flying Dutchman". CD

A wild little record – one that was issued under the name of Flying Dutchman label headman Bob Thiele – but which actually features work from some of the grooviest artists on the label at the time – including Tom Scott, Ornette Coleman, Jon Appleton, John Carter, Horace Tapscott, and Bobby Bradford! The package has a very different feel on each of the album's four sides – and side one is a tremendous showcase for the young reedman Tom Scott – working here in a cool mix of electric and acoustic instrumentation that's similar to his other records of the time – including organ, vibes, and some nice funky touches as well. Side two features an exploration of the history of jazz – but one that progresses quickly from early modes to hipper ones – showcasing the talents of John Carter on tenor, Bobby Bradford on trumpet, and Horace Tapscott on piano! Side three is a mighty dedication to the late John Coltrane – played at first by a trio with Joe Farrell on flute, Wilbur Ware on bass, and Elvin Jones on drums – then moving into a mix of Farrell's flute and narration by Rosko – then a performance by the Ornette Coleman quartet. And side four is especially mindblowing, as it's comprised of lone long piece by Jon Appleton's Syntonic Menagerie – a mix of sound samples, tape tricks, and jazz – as a commentary on The American Indian, JFK, and Martin Luther King. The whole thing's a great illustration of the Flying Dutchman label at its most revolutionary – and titles include "Head Start", "Freaky Zeke", "Lanoola Goes Limp", "Swing Era", "In The Vineyard/Avant Garde", "Love Supreme", "Lament For John Coltrane", and "A Few Thoughts For The Day". CD also features a rare bonus track – "The Flying Dutchman". CD

Wonderful work from Leon Thomas – easily one of his greatest albums ever, and a set that was recorded at the same time he was working with Pharoah Sanders! Thomas really rose to fame on Sanders' classic "The Creator Has A Master Plan" – and this set really takes off from that moment – letting Leon spin out some spiritual vibes of his own, and step into a few fresh new styles as well! The album's plenty righteous right from the start – partly because the lineup includes James Spaulding on alto and flute, Lonnie Liston Smith on piano, Cecil McBee on bass, and the enigmatic "Little Rock" on tenor – who is actually Pharoah Sanders – but also because Leon serves up a shorter take on "The Creator Has a Master Plan" – done in a great style! The album also features a classic vocal take on Horace Silver's "Song for My Father", with lyrics that we totally love – plus the frenetic "Malcolm's Gone" – and the tracks "One", "Echoes", "Let The Rain Fall On Me", and "Damn Nam". LP, Vinyl record album

Wonderful work from Leon Thomas – easily one of his greatest albums ever, and a set that was recorded at the same time he was working with Pharoah Sanders! Thomas really rose to fame on Sanders' classic "The Creator Has A Master Plan" – and this set really takes off from that moment – letting Leon spin out some spiritual vibes of his own, and step into a few fresh new styles as well! The album's plenty righteous right from the start – partly because the lineup includes James Spaulding on alto and flute, Lonnie Liston Smith on piano, Cecil McBee on bass, and the enigmatic "Little Rock" on tenor – who is actually Pharoah Sanders – but also because Leon serves up a shorter take on "The Creator Has a Master Plan" – done in a great style! The album also features a classic vocal take on Horace Silver's "Song for My Father", with lyrics that we totally love – plus the frenetic "Malcolm's Gone" – and the tracks "One", "Echoes", "Let The Rain Fall On Me", and "Damn Nam". CD features three bonus tracks – a live recording of "Um Um Um" and "Damn Nam" – plus a take on "Night In Tunisia". CD

Wonderful work from Leon Thomas – easily one of his greatest albums ever, and a set that was recorded at the same time he was working with Pharoah Sanders! Thomas really rose to fame on Sanders' classic "The Creator Has A Master Plan" – and this set really takes off from that moment – letting Leon spin out some spiritual vibes of his own, and step into a few fresh new styles as well! The album's plenty righteous right from the start – partly because the lineup includes James Spaulding on alto and flute, Lonnie Liston Smith on piano, Cecil McBee on bass, and the enigmatic "Little Rock" on tenor – who is actually Pharoah Sanders – but also because Leon serves up a shorter take on "The Creator Has a Master Plan" – done in a great style! The album also features a classic vocal take on Horace Silver's "Song for My Father", with lyrics that we totally love – plus the frenetic "Malcolm's Gone" – and the tracks "One", "Echoes", "Let The Rain Fall On Me", and "Damn Nam". CD include 3 versions of "Take The 'A' Train", 2 takes of "Walkin'", 2 takes of "Willow Weep For Me", and 2 takes of "If It Didn't Hurt So Much". CD

Well, in our opinion, Cal went Latin right from the start, practically. Still, this "Goes Latin" LP is one of his best of the genre from the old days, and features a host of great players like Lonnie Hewitt, Chombo Silva, Mongo Santamaria, Paul Horn, and Willie Bobo. The album includes Cal's semi-hit "Black Orchid", plus "Mi China", "Bonita", "Contigo", and "Mambo At The M". Very nice, with a sound that would become Cal's trademark in the years right after this album. Cal Tjader Quintet is a great little Latin session from Cal – recorded with extra percussion from Benny Velarde and Luis Miranda, plus rhythm from the Duran brothers, Manuel (piano) and Carlos (bass). The groove's nice and heavy, pretty driving on most cuts, a perfect foil for Cal's jazzy vibes. Titles include "A Minor Goof", "Laura", "Lullaby In Birdland", "Undecided", and Cal's classic reading of Tito Puente's "Philadelphia Mambo". CD

The debut album of Trapeze – a great little group that's maybe best known as the early home of Glenn Hughes, but who have plenty to offer on their own! Production is by John Lodge, of the Moody Blues – a strong supporter of the group at their start – but the sound is very different than his own work – sometimes with harmonies that almost have the group coming across in heavier territory than the earlier Bee Gees, sometimes with hints of the hard rock elements that Hughes would bring to later music. Drummer Dave Holland provides excellent work on the set – and titles include "The Giant's Dead Hoorah", "Over", "Nancy Gray", "It's Only A Dream", "Suicide", "Send Me No Letters", and "It's My Life". LP, Vinyl record album

We love Bobby Troup, and we love records like this that show what a lost link he was in styles of male jazz vocal singing that keep turning up with singers like Harry Connick Jr and some of his contemporaries! Bobby wrote every track on this one, and the set's got lots of his cool little hipster ditties, like "Do Re Mi", "One October Morning", "Daddy", "Snootie Little Cutie", and "Baby, Baby All The Time". The backing's by a cool west coast ensemble with Red Norvo on vibes and Jimmy Rowles on piano, and they give the set a nice lively feel that has more swing than some of Bobby's other LPs. A great set of vocal tracks, and the kind of stuff we wish they'd start reissuing more in this country. LP, Vinyl record album

A nice little soundtrack by the great Trovajoli – scored for an Italian sex comedy starring Sophia Loren and Marcello Mastroianni! The film's divided up into three segments with three different themes – the first of which is historical, the other two of which are great and groovy! The "Anna" segment features three strong jazz numbers – "Anna With The Rolls", "Descansado", and "Flowers For A Poor Millionaire". The "Mara" segment is the best, though, with some groovy jazz and organ bits that are similar to Trovajoli's best late 60s work. Titles include "Mara", "Rome, Don't Be Stupid", and "Portrait Of MM". LP, Vinyl record album

A really lovely little record from the UK scene at the start of the 70s – and one that's maybe a bit out of time, and somewhat different than some of the other Vertigo Records titles of the period! The group features three singers – two guys, one gal – often harmonizing along with their acoustic guitars, piano, and flute – in a style that's got more of that late US Sunshine Pop quality than some of the British folky material of the period – maybe a bit of a surprise as the larger group here features member of Pentangle! The great Tony Coe adds in some flute to the records, amidst some other great woodwind touches – and the arrangements are really beautiful – both lofty and down to earth at the same time, on titles that include "It All Comes Back To Me", "Would You Believe?", "Recollection", "Help Me Find Myself", "Forest", "I See A Man", "Kew Gardens", "The Lady's Changing Homes", and "Two Steps Back". CD

Sock-hard early soul from the team of Ike & Tina Turner – a great little batch of tracks recorded back in their early years on Sue Records, when the duo was just starting to come on strong, and really came across with a heck of a lot of power! There's none of the simple tricks or fake soul of some of the pair's later recordings – just down and dirty R&B-styled 60s soul – recorded when Ike was at the height of his bandleading power, and Tina was singing in a mode that blew away most other female singers at the time. Titles include "It's Gonna Work Out Fine"," Gonna Find Me A Substitute", "Sleepless", "A Letter From Tina", "Worried & Hurtin Inside", "You Should've Treated Me Right", and the instrumentals "Prancin" and "The Groove". LP, Vinyl record album

... 78 RPM, Vinyl record

A legendary album from the Brit psych scene at the end of the 60s – and one of the few records from that time that's still completely mindblowing all these many years later! Twink is John Alden, who'd had already had years of work behind him before putting together this set – including stints with Tomorrow and Pretty Things – and the direction here is very different than most of what was taking place at the time – much looser and more experimental, as the album seems to leap into very heady territory right from the start! There's no effort at putting out an easy single or crossover hit – and instead, some of these tunes have a sonic complexity that almost prefaces later more experimental work from the British scene, including the 80s industrial years – with one number that's just kind of a weird melange of voices, and another that's a lot of noise on drums, sitar, tablas, and effects – as well as a "pixie horn"! A few of the more vocal numbers – like the standout "Suicide" or "Three Little Piggies" – almost feel like work from Wicker Man – and other titles include "The Coming Of The One", "Ten Thousand Words In A Cardboard Box", "Fluid", "Dawn Of The Magic", "The Sparrow Is A Sign", and "Mexican Grass War". 2CD version features the full album in mono, then stereo – plus bonus tracks that include alternate versions of "Fluid", "Suicide", "10,000 Words In A Cardboard Box", "Dawn Of Magic", and "Rock An Roll The Joint". CD

A pair of classic albums from The Undisputed Truth! First up is Method To The Madness – a gem from the second chapter of the group – that time when they stepped away from Motown, and followed producer/creator Norman Whitfield to his own label in California! The shift of record companies also marks a cool shift in styles too – an approach that still has all the bold, bassy elements you'd know from the earlier hits – but one that also has some fuller, more cosmic elements too! The set begins with a weird electronic spoken number that's almost experimental – then brings up the bass for a bit of heavy funk, while also using electric elements in a way that really points the way to sounds that other big funk groups would cop at the start of the 80s – but which really sound fresh here. Titles include "Sunshine", "Take A Vacation From Life (And Visit Your Dreams)", "Life Ain't So Easy", "You + Me = Love", "Cosmic Contact", "Hole In The Wall", and "Let's Go Down To The Disco". Smokin has them still going strong with Whitfield, in a groove that's every bit as wonderful as their early years! There's a killer mix of funk and deeper soul here that few other acts could handle this well – a way of hitting the flashy funk of Sly & The Family Stone or Graham Central Station – but also not falling into any showbiz traps, either – in a mode that really his the group not only respecting the role of each member, but also working together in a very cohesive way on the album. The result is a great little set that balances funky grooves with some excellent cosmic soul cuts – supported by great session work from giants like Wah Wah Watson, Walt Downing, and Jack Ashford. Titles include "Show Time", "Space Machine", "I Can't Get Enough Of Your Love", "Misunderstood", "Sandman", "Atomic Funk", and "Talkin To The Wind". CD

A spooky little soundtrack, with some slight erotic moments as well – all scored for a schlocky Italian film starring an ex-patriot Farley Granger! The story centers around an investigation of an earlier rape and murder – and the music does a good deal to underscore the mix of sexual tension and drama in the film – often using spare stepping basslines that move very slowly on the bottom of the tunes, while eerie keyboards, guitar, and weirder effects drift lightly over the top. A few numbers have a slightly warmer feel, in keeping with more erotic moments in early 70s Italian cinema – and there's also a bit of wordless vocals that float through some of the tunes, often with a theremin-like quality. LP features 15 tracks from the film! LP, Vinyl record album

One of the coolest concepts for a record in the 60s – and a set that's the first, and maybe crowning achievement of Vanilla Fudge! The set's mighty trippy – and often offers up very weird, fuzzy remakes of songs that were more mainstream hits for other artists in the 60s – tunes by The Beatles, Zombies, Impressions, and others – taken into really weird new territory by the group's jamming fuzz guitar, stark rhythms, and dark sensibilities. Genius Shadow Morton produced and directed the whole thing – which is one of his crowning achievements, and a great commentary on some of the more mainstream pop he was producing at the time. Titles include "Illusions Of My Childhood", "Eleanor Rigby", "Ticket To Ride", "Bang Bang", "She's Not There", "Take Me For A Little While", and "You Keep Me Hanging On". LP, Vinyl record album

Sarah Vaughn hit a very groovy new style on her handful of records for the Mainstream label in the early 70s – a new approach that offered her amazing voice a way to stretch out with some of the new sophistication of the time! The arrangements are still jazz, but they've taken a direction that other younger singers, like Nancy Wilson, were following as the decade began – maybe more adult themes in the lyrics, and a way of balancing out the larger charts without ever getting in the way of the singer – which is especially important here, in the way that the album demonstrates that phrasing that not only made Sarah so unique at the start, but which got even more amazing as the years moved on. The arrangers are a hip lot who are definitely up to the job – and include Michel Legrand, Peter Matz, and Jack Elliott – on titles that include "Run To Me", "And The Feeling's Good", "Just A Little Lovin", "Deep In The Night", "When You Think Of It", and a nice take on "Easy Evil". LP, Vinyl record album

The Ventures were furiously productive in the early 60s – delivering gem after gem – and this is among the best! Telstar is somewhere near the ninth record by the group, offering a dizzying mix of covers of some of the most popular songs of the day. The guitar still leads as the main sound on these tracks but they do expand the instrumentation to include organ, trumpet, mandolins and harpsichord as well. They sing a little on some of the tracks but they mainly stay in the instrumental realm. Greatness! Tracks include "Telstar", "The Lonely Bull", "Mexico", "Calcutta", "Apache", "Never On A Sunday", "Tequila", "Green Onions", "Let There Be Drums", and "Red River Rock". LP, Vinyl record album

One of the all-time classics from Jr Walker & The All Stars – key proof that Motown could groove even when nobody was laying down vocals! As you might guess from the title, the album features the group's huge hit "Shotgun", plus lots of other cool funky little tracks like "Cleo's Back", "Tune Up", "Monkey Jump", "Do The Boomerang", "Shake & Fingerpop", "Shoot Your Shot", and lots more! The album's one of the group's strongest for Motown – and features that tight snapping groove that helped Jr take the tenor out of the R&B sound of the 50s, and place it into a whole new mode for the soulful 60s! CD

One of the all-time classics from Jr Walker & The All Stars – key proof that Motown could groove even when nobody was laying down vocals! As you might guess from the title, the album features the group's huge hit "Shotgun", plus lots of other cool funky little tracks like "Cleo's Back", "Tune Up", "Monkey Jump", "Do The Boomerang", "Shake & Fingerpop", "Shoot Your Shot", and lots more! The album's one of the group's strongest for Motown – and features that tight snapping groove that helped Jr take the tenor out of the R&B sound of the 50s, and place it into a whole new mode for the soulful 60s! LP, Vinyl record album

A rare gem from T Bone Walker – one of the few hip sides he cut in Europe at the end of the 60s – and very different than his more traditional work! The set was put together by Robin Hemmingway – who also handled the hip Hal Singer record from the same time – and the players here include Bernard Estardy on organ, Michel Sardaby on piano, and Manu Dibango on saxophone – all of whom make for a groove that's far more than traditional blues. Sure, the record's plenty bluesy – but it's also got a funky groove on many numbers – really cooking along in a way that's even cooler than most funky American blues. And given that Walker's guitar style was a key influence on most funky guitar players in jazz, his own work here is a really great fit for the setting! Titles include "Vacation", "Long Lost Lover", "Woman You Must Be Crazy", "I Wonder Why", "Poontang", "Reconsider", "Sail On Little Girl", and "When I Grow Up". CD

The stuff of legend – the complete 7" single output of Dionne Warwick during her early years at Scepter Records – a time when she was transforming the sound of 60s pop, with help from songwriter/maestro Burt Bacharach! In fact, the set's as much of a tribute to Burt's genius as it is to Dionne's – even though there are some non-Bacharach moments in the mix too, yet served up at a level that just shows how much potential Warwick had at the start, honed even more strongly in the hands of the maestro. The massive package features 74 tracks in all, and includes some great cuts past the hits – including "Amanda", "Who Gets The Guy", "Walk The Way You Talk", "I'm Your Puppet", "Window Wishing", "Loneliness Remembers What Happiness Forgets", "Walk Little Dolly", "Let Me Be Lonely", "Who Is Going To Love Me", "Another Night", "As Long As There's An Apple Tree", "Slaves", "Whoever You Are I Love You", "Only The Strong", and "Let Me Go To Him". CD

A great little set, and one that features some of the best Japanese jazz acts of the late 60s – the quartet of alto player Sadao Watanabe, the combo of tenorist Akira Miyazawa, the Big 4 group of drummer George Kawaguchi, and the larger Sharps & Flats ensemble of Nobuo Hara! LP, Vinyl record album

A strange little soundtrack from Andrew Lloyd Webber – written to accompany this action film starring Jon Voight, based on the spy thriller by Frederick Forsythe. About half the soundtrack is classical tunes or traditional German numbers – but there's also some nice electric funk tunes that more than make the album worth checking out, played by a small combo with some great keyboard work! The slowly funky tunes have a dope soundtrack feel and a bit of a CTI touch – and titles include "Miller's Theme", "Miller Joins The Odessa", and "Odessa Discovery" – all of which are nice weird funky tunes! LP, Vinyl record album

A lost masterpiece of modern jazz from the Venezuelan scene at the start of the 70s – a record that mixes together acoustic and electric elements with effortless ease – maybe echoing some of the best Gil Evans experiments of the time, but also vibing with the cooler European work on labels like MPS! Gerry Weil plays both acoustic and electric piano – in a group that features alto from Ramon Carranza, alto and soprano from Bill Bucci, and tenor from Victor Cuica – all shifting amidst the larger ensemble of trombones, trumpets, electric guitar, bass, and plenty of percussion – the last of which echoes some slight Latin currents, while never getting in the way of more modern jazz expressions! The title track, "The Message", is a funky monster with great fuzzy guitar – and other titles include "Johnny's Bag", "Little Man", "The Bull's Problem", and "The Joy Within Yourself". LP, Vinyl record album

Although the name of George Wein is usually associated with some super un-hip trad jazz projects, this album's actually a pretty cool batch of grooves that matches Wein's older jazz tendencies with some newer styles of playing – and some good electric instrumentation on the best cuts. The album's got a super-nice version of "Sunny", plus "Blue Boy", "In A Little Spanish Town", "Topsy", and "Ja Da" – and believe it or not, Wein even plays some electric piano! Players include Red Norvo, Tal Farlow, Larry Ridley, and Barney Kessel. LP, Vinyl record album

Wendy and Lisa really break out of earlier modes here – and hit a style that showcases a more sensitive, singer-songwriter orientation that's a welcome change from some of their too funky modes! The groove here is a little hard to pin down exactly – but there's a great sense of textures in the sound that almost echoes the image on the cover – a style that has the lyrics of the tunes really taking center stage in front of the rhythms, and which features instrumentation that's often nicely abstracted from its source – kind of shimmering and glowing behind the vocals. Titles include "Mother Of Pearl", "Strung Out", "Rainbow Lake", "Porch Swing", "Why Wait For Heaven", "Valley Vista", and "Staring At The Sun". 2CD version is bursting with bonus material – tracks that include "Eric's Ghost", "Stones & Birth", "Balance", "Minneapolis #1", "C-Ya", "Strung Out (g-strung 7")", "Rainbow Lake (12 into 7 rmx)", and "Don't Try To Tell Me (alt version)". CD

Some of the most important work ever recorded by Randy Weston – 5 early albums that really pushed the boundaries of modern jazz! First up on the set is Little Niles – a fantastic set that features some of Weston's best early compositions – angular and Monk-ish numbers, but with a profound influence from African rhythms. Next up is Live At The Five Spot – a really compelling live set that features Randy working out Little Niles-ish numbers with a live group that includes Kenny Dorham and Coleman Hawkins. After that is Piano A La Mode – a sublimely simple album of mellow piano tracks – followed by a series of previously unissued tracks done with a quartet that includes Roy Haynes, Cecil Payne, and Ron Carter. Following that are some of Randy's most Afro-centric albums – very unique for the time, and equally powerful today – the records Uhuru Afrika and Highlife – both of which feature larger groups working through some distinctly African ideas in jazz. Nearly every record features arrangements by Melba Liston – and if you've ever wondered where to start with Randy, this is it – because the set encapsulates nearly all of the biggest contributions he ever made to jazz! 40 titles in all – with tunes that include "Little Niles", "Nice Ice", "Earth Birth", "Gingerbread", "Saucer Eyes", "204", "CB Blues", "Where", "Fe Double U Blues", "African Lady", "Bantu", "Kucheza Blues", "Blues To Africa", and "Congolese Children". CD

One of our favorite Randy Weston albums from the early years – a set that moves past his simple trio and solo format, to offer some key experimentation with horns – in this case the creative work of Cecil Payne on baritone sax! Payne plays on most of the record – save for two mellower trio titles – and Weston's nicely balanced between his early modern trio impulses, and some of the even more creative elements he'd bring to his music just a few years later. In that respect, most tunes are standards, but given a fresh reading by the pair – as well as Ahmed Abdul Malik on bass and Wilbert Hogan on drums – but the record also includes some key early compositions too – including one of the first versions of "Little Niles" and the Payne/Weston tune "Lifetime", which is a real gem. Other titles include "These Foolish Things", "I Can't Get Started", "The Man I Love", and "Serenade In Blue". CD

Mid 60s magic from Johnny Williams – a cool little score to an obscure heist film that starred Audrey Hepburn and Peter O'Toole! The style here is very much like some of Johnny's other best of the time – often playful at points, but warmer at others – a great blend of fuller strings and more whimsical instrumentation that keeps up all the delightful play of the action on the screen. Titles include "Two Lovers", in both vocal and instrumental versions – plus "At Maxims", "The Cellini Venus", "The Prowler", "Simon Says", and "The Can Can". LP, Vinyl record album

A great little soundtrack – as campy as the film it was written for – and a record that's gone on to be one of the touchstone soundtracks of the 60s! Some of the tunes are more straight numbers by Johnny Williams – a bit dreamy, but with some nice easy touches – but the best tunes are the swinging vocal numbers, like "Give A Little More", "Come Live with Me" and "I'll Plant My Own Tree" – which have the fierceness of the film's characters set loose on record (an important thing in the years before you could watch a DVD copy of the movie at home!) Plus, the album starts out with the great monologue which begins the film – kind of a dreamy narrative about the beginning of the downfall that destroyed the life of Neely Bruce – and leads into tracks that include "It's Impossible", "Theme From Valley Of The Dolls", "Jennifer's Recollection", and "Jennifer's French Movie". LP, Vinyl record album

Startling! This album is one of two that a young Tony Williams cut for Blue Note, back when he was just hitting the age of 20, and when he was already blowing the minds of masters like Jackie McLean (who first hired him) and Miles Davis (who stole him from Jackie for his own group!) with an approach to drumming that was freed from usual time constraints. Williams conception was so unique, other young modernists – like the album's Wayne Shorter and Sam Rivers on tenor, Herbie Hancock on piano, and Gary Peacock on bass – quickly benefited from his presence, as you'll hear in this amazing session that sounds very little like any other Blue Note release. Williams wrote all of the tracks, but the style is much freer than any sense of composition might imply – and the group is shaken up differently from track to track. Titles include "From Before", "Echo", and "Extras". CD

Startling! This album is one of two that a young Tony Williams cut for Blue Note, back when he was just hitting the age of 20, and when he was already blowing the minds of masters like Jackie McLean (who first hired him) and Miles Davis (who stole him from Jackie for his own group!) with an approach to drumming that was freed from usual time constraints. Williams conception was so unique, other young modernists – like the album's Wayne Shorter and Sam Rivers on tenor, Herbie Hancock on piano, and Gary Peacock on bass – quickly benefited from his presence, as you'll hear in this amazing session that sounds very little like any other Blue Note release. Williams wrote all of the tracks, but the style is much freer than any sense of composition might imply – and the group is shaken up differently from track to track. Titles include "From Before", "Echo", and "Extras". CD

A pivotal set from Cassanda Wilson – and a record that firmly established her as one of the freshest new singers in jazz at the time! The album's awash in rootsy, dusky tones – and has an earthiness that's clearly inspired by older blues, but expressed by Cassandra in voicings that are more clearly jazz-based. Titles include an unusual range of covers – used in this way many years before the Starbucks generation of vocalists made it common place – with covers that include "Last Train To Clarksville", "Harvest Moon", "Skylark", and "Love Is Blindness" – alongside originals that include "Until", "A Little Warm Death", "Find Him", "Solomon Song", and "Memphis". CD

A pivotal set from Cassanda Wilson – and a record that firmly established her as one of the freshest new singers in jazz at the time! The album's awash in rootsy, dusky tones – and has an earthiness that's clearly inspired by older blues, but expressed by Cassandra in voicings that are more clearly jazz-based. Titles include an unusual range of covers – used in this way many years before the Starbucks generation of vocalists made it common place – with covers that include "Last Train To Clarksville", "Harvest Moon", "Skylark", and "Love Is Blindness" – alongside originals that include "Until", "A Little Warm Death", "Find Him", "Solomon Sang", and "Memphis". CD

Heavy soul from the great Spanky Wilson – an album that explodes with energy right from the start – in a groove that definitely lives up to the title! Spanky's got a great mix of funk and class on this set – a punch in the rhythms at points, yet also a poise in the way she delivers the lyrics – a blend that's a bit like Marlena Shaw in her earlier years – and set to some killer arrangements from the great HB Barnum! Barnum gives the record all the cool punch of his great 60s work with Lou Rawls – and nearly all the material was written by the obscure Howlett Smith – an excellent lost writer who had a real talent for coming up with cool little soul songs that rise above the usual bag of his generation. This material works great for Spanky, and together, the pair, along with Barnum, cook up a unique lost soul treat! Titles include "Apartment 101", "On The Morning After", "The Other Girl", "You're Gonna Miss Me", "Love Has Me By The Hand", and "Mighty Great Feeling". LP, Vinyl record album

Heavy soul from the great Spanky Wilson – an album that explodes with energy right from the start – in a groove that definitely lives up to the title! Spanky's got a great mix of funk and class on this set – a punch in the rhythms at points, yet also a poise in the way she delivers the lyrics – a blend that's a bit like Marlena Shaw in her earlier years – and set to some killer arrangements from the great HB Barnum! Barnum gives the record all the cool punch of his great 60s work with Lou Rawls – and nearly all the material was written by the obscure Howlett Smith – an excellent lost writer who had a real talent for coming up with cool little soul songs that rise above the usual bag of his generation. This material works great for Spanky, and together, the pair, along with Barnum, cook up a unique lost soul treat! Titles include "Apartment 101", "On The Morning After", "The Other Girl", "You're Gonna Miss Me", "Love Has Me By The Hand", and "Mighty Great Feeling". CD

One of the most unique soul records you'll ever own – a tremendous little set from the mighty Milton Wright! Milton's probably best known for his first album, Friends & Buddies, but this set is arguably even greater – an even more personal, unusual session that blends wonderfully written songs, heartfelt vocals, and some really offbeat production techniques! There's a bit of an acoustic vibe to the set at times – guitar gently grooving alongside Milton's vocals – but the set also has a jazzy tinge too, with hip inflections amidst the arrangements that created a really sophisticated pattern of sounds for the record. Things start somewhat mellow, but quickly get grooving – bringing in bits of keyboards and more electric guitar to warm things up, and hitting a sublime style that's unlike anything else we can think of. Wright's vocals often have a spaced out feel that's in keeping with the album, but the album's hardly laidback – and has a great sense of focus throughout. Titles include "Be With Me", "She Can Have Anything She Wants", "Dance Have Fun", "Magic Music", "You Like To Dance", "Let's Take A Break", "All I Know Is That I Have You", and "Leave Me Alone". CD