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

Some of the earliest work ever recorded by Lester Bowie as a leader – and a set that stands in importance right next to the early Delmark AACM sides by Anthony Braxton and Roscoe Mitchell! Plus, the album's almost an early Art Ensemble of Chicago effort, given the lineup – which features Bowie on trumpet and flugelhorn; Roscoe Mitchell on alto, soprano, clarinet, and flute; Malachi Favors on bass; and Joseph Jarman on alto, sopranino, and clarinet!. This fantastic CD features all the material recorded at the initial sessions in 1967 – both trio and quartet material, with titles that include trio numbers "Warm Up", "Number 2", "Number 1", and quartet takes on "Number 2". CD

A masterful statement from the Peter Brotzmann Tentet – a large group, but one that's capable of a rich array of sounds and sentiments – maybe given best exposure here in this key recording from the prime years of the ensemble! Ten players can be a huge number, especially when improvising so much – but these guys all have ears that are beautifully tuned to each other, and which really seems to not only bring out the best in each member, but also push the whole group together with a style that none of them could have hit on their own. Reeds are handled by the heavyweight quartet of Brotzmann, Ken Vandermark, Mats Gustafsson, and Mars Williams – and other group members include Joe McPhee on trumpet, Jeb Bishop on trombone, Fred Lonberg-Holm on cello, Kent Kessler on bass, and both Michael Zerang and Hamid Drake on drums. Titles include "Bird Notes", "Six Gun Territory", and "Signs" – the last of which is live. CD

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

One of those 70s records that has everything going for it, but somehow never got a chance to get off the mark – well-written and catchy tunes, a tight approach to production that's also somehow fresh, and a sense of personality that marks this second set by the band to be one where they're really hitting their stride! The record's of the AOR generation, but it's also got a sense of individuality that really shines through – never too polished, but also not an indie effort as well – and some nice echoes of the kind of cuts that would have peaked on British radio a few years before. Titles include "Confident Man", "Coaltown", "As A Lover I'm A Loser", "Alone Tonight", "Good To Me", "Free & Easy", and "Faith In The Family". CD

A killer record from bassist Paul Brusger – a set that features plenty of great work from Eric Alexander on tenor and alto – the latter an instrument that he's really begun to embrace in recent years! The rest of the group is wonderful too – Steve Davis on trombone, Rick Germanson on piano, and Willie Jones III on drums – a combo with a hard-swinging energy, and lots of individual identity in the way each member expresses themselves within the group – no egos getting in the way of the groove, even though the musicians themselves are an all-star group! Yet credit should really be given to Brusger for not only pulling the whole thing together, but also composing most of the material for the set – really great tunes that bristle with fresh life and vision, on selections that include "A Slice Of Gryce", "Just A Tadd More Please", "Do Dreams Really Matter", "The Sugar Glider", and "Blues For Another Time". CD

A really early nugget from the Detroit jazz scene of the 50s – and a record that marks a key moment for players who would soon become huge on a variety of different labels! The group here features a very young Donald Byrd on trumpet, with Yusef Lateef on tenor, Barry Harris on piano, Alvin Jackson on bass, and Frank Gant on drums – plus Bernard McKinney blowing euphonium – an instrument he would use on a number of other important recordings over the years to really deepen their sound. The date was originally issued by the Transition label, and very quickly disappeared when they quickly closed up show – brought back over the years in a few variations by Delmark, to keep the memory of this moment alive. Tracks include "Yusef", "Parisian Thoroughfare", "Blues", "Dancing In The Dark", and "Tortion Level". CD

The title's no lie – as the album's got a fairly bluesy sound, and has the Chambers Brothers staying in the rootsier mode of their earliest recordings – not what you might expect from the 1970 date of the album! The album was actually recorded much earlier than the date – and features material that predates the Brothers Columbia Records sides – now in full force on the market by the time of this release. The style here is similar to other Vault albums – definitely feelin the blues, plus a bit of folk and gospel too – recorded mostly live, but with some studio tracks too – all in the righteous, stripped-down style of the group's earliest years. Titles include "Girls We Love You", "I Got A Woman", "Don't Lose Your Cool", "Travel On My Way", and "Undecided". CD

A long-overdue look at the amazing Clark Sisters – a fantastic gospel group, and one with a vocal depth that we'd put right up there next to any of our favorite soul acts of the time! The Clarks are maybe best known for their landmark track "You Brought The Sunshine" – a completely righteous blend of gospel, soul, and disco that crossed over very big back in the day – but the group have an endless amount of great music to offer, a great deal of which is brought together in this wonderful set! The sisters always kept a strong ear towards the secular soul styles of their day – but they also always pushed things with the sort of amazing vocal interplay that used to only be the territory of male gospel groups in earlier decades – fantastic harmonies, soaring leads, and really great group formation. And if you're not a completely huge fan of gospel, don't worry – because the message here is often a more general one of positivity, which really lifts up the spirit of the tunes in a universal way. Titles include "You Brought The Sunshine (single edit)", "Everything Is Gonna Be Alright", "He Keeps Me Company", "Patience", "I'm Going To Have Just What I Want", "Power", "Overdose Of The Holy Ghost", "My Mind Is Made Up", "Nothing To Lose All To Gain", "No Other Name", "Keep On Looking Up", and "I Found What I'm Looking For". CD

Four late 60s gems from Perry Como – all records that really have him pushing beyond his pop style of the 50s! First up is Lightly Latin – one of the most sublime albums we've ever heard from Perry Como – a set that definitely takes its Latin lightly, and instead really goes for the best sort of mellow side of the Como sound! There's definitely a few bossa touches in the mix – a bit of acoustic guitar or light percussion – but they're added in very sparely, and couched with a beautifully subtle wall of sound from arranger Nick Perito, who works here with a lot more understatement than on some other records. Como's vocals are very far from pop – and the album brings out his maturing style wonderfully with a spacious, soft-toned style of production. Titles include "Dindi", "Once I Loved", "Stay With Me", "How Insensitive", "The Shadow Of Your Smile", "Baia", and "Manha De Carnaval". Next is Perry Como In Italy – one of the most haunting albums we've ever heard from Perry Como – a session recorded in Italy during the mid 60s – featuring arrangements by Nick Perito, and backing vocals by the Alessandro Alessandroni Singers! The tunes include a fair bit of older Italian numbers – some sung in the language of their origin, some in English translations that we've come to know on this side of the Atlantic – and Como takes them all with a sad-tinged style that makes the album one of his moodiest ever – a record that oozes melancholy with every song, and which has a late nite, heartbreaking appeal that goes beyond even the understanding of language. The set's a great one to convey the popularity of Italian work on the American market in the 60s – and Como carries off the session even better than some of the more likely singers on the scene during the period. Titles include "Souvenir D'Italie", "Forget Domani", "Anema E Core", "One Day Is Like Another", "Arrivederci Roma", "Oh Marie", and "E Lei". Look To Your Heart is the kind of record that moves so far beyond familiar pop vocalizations, it's almost like Perry's in a universe all by himself! The words seem to just be sneaking out of the singer's voice – these mutterings that are almost to himself, which makes his readings of the tunes feel even more personal than you might expect – even amidst larger backings from Nick Perito – like Como is off to the side of the room, ruminating on love lost and life lived! That quality comes through tremendously on the eerie "Father Of Girls" – a tune that's worth the price of admission alone – and other titles include "Try To Remember", "Look To Your Heart", "In These Crazy Times", "Sunrise Sunset", and "When You're In Love". Seattle is a record that has Perry Como taking on a bit of a country tinge at times – working with Chet Atkins production that almost seems as if the singer is trying to match the Dean Martin spirit of the late 60s, right down to phrasing that feels a bit like ol Dino himself! A few other cuts have more familiar Como modes, with backings by Nick Perito – and titles include the lively title cut "Seattle", plus "Happiness Comes Happiness Goes", "Together Forever", "Sunshine Wine", "Deep In Your Heart", "Hearts Will Be Hearts", "Turnaround", and "Beady Eyed Buzzard". CD

Some of the best work ever from Puerto Rican percussionist Rafael Cortijo Verdejo – sides recorded in New York for the Ansonia label, at a time when Cortijo's music was even more rootsy than it was a decade before! The material here marks a renewed sense of tradition in players of Cortijo's generation – almost a back-to-basics mode that was their answer to the hybrids of the late 60s – a style that often has Rafael focusing even more on the rhythms at the bottom of the tracks, and leaving behind some of the fuller orchestrations of the 50s. The mighty Kako joins in on percussion on a number of tracks too – and singers include Chivirico Davila and Johnny Vega – on titles that include "Chiviriquiton", "Tele Tele Ya", "La Madama", "Que Linda Te Ves", "Tu Y Tu Guarapo", "Quien Fuel El Primero", "Echando Un Pie", "Alegria Bomba Es", "Dorotea", "Dudando", and "El Negrito Bailador". Comes with great notes in Spanish and English, too! CD

With a record like this, it's clear that bassist Jamale Davis is a player to watch – as he's got a way of really bringing something new to the table, and presenting us with a very fresh conception of jazz! Way back through a legacy that includes albums by Ron Carter, Richard Davis, and Oscar Pettiford, it's often the case that groups led by a bassist can really deliver something different – not just a way of pushing a player who's sometimes in the background to the front, but maybe changing up approaches to rhythm and melody in all these really inventive ways – something that Jamale definitely does here – working with a lineup who shape their sounds beautifully – Dario Terzuolo on tenor, John Mosca on trombone, Mferghu on piano, and Ben Zweig on drums and pandeiro. The mix of tenor and trombone is beautiful next to the bass – and the album has a good blend of unusual tunes and a few well-chosen remakes – in a set list that includes "Rabbit Island", "Indra", "Taxi Bird", "Star Eyes", "Run With The Hunted", "Congo Blues", and "Hello I Must Be Going". CD

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

Amazing box set – five full albums of material, plus lots of bonus tracks too! First up is Flowers – a soaring classic from The Emotions – thanks to some supreme help from the Earth Wind & Fire side of the soul spectrum! This set has the trio really sounding great – with Kalimba Productions by Maurice White and Charles Stepney – and a good deal of EWF help on the instrumentation as well! The girls break out of the rootsier style used on their earlier Stax recordings, and manage to fit perfectly with the jazzy tinges of the new grooves – and, along with Ramsey Lewis and EWF, the Emotions were part of a hugely successful trinity during the late 70s – one that took the indie soul roots of the Chicago scene and turned it into landmark big business for Columbia Records. The album's got a new approach to female group soul that would go onto shape R&B for years to come – and titles include "Flowers", "I Don't Wanna Lose Your Love", "We Go Through Changes", "Special Part", and "You've Got The Right To Know". Next is Rejoice – a huge hit for both The Emotions and Maurice White – whose Kalimba Productions handled this album in the same hit mode they'd been using for Earth Wind & Fire! There's a polished, soaring bounce her that definitely shows the Earth Wind & Fire touch – and which takes the girls miles from their rougher, rootsier soul of the Stax/Volt years – yet like all the best EWF records of the time, the sound is also plenty soulful, with lots of righteous undercurrents. The album includes the group's wonderful track "Don't Ask My Neighbors", a heavenly tune that builds on a long tradition of sweet female soul from Chicago; the super-huge "Best Of My Love", a hit on dancefloors and radios for years to come – and many other nice numbers like "Blessed", "How'd I Know That Love Would Slip Away", and "Key To My Heart". Sunbeam is great little album from The Emotions – largely because it sounds a lot like prime mid 70s Earth Wind & Fire, with female vocals added over the top – ultimately, pulling away with a soulful charm all its own! Maurice White produced the whole set, and it's got a soaring spacey sound that provides a perfect spiritual edge to the girls vocals – taking them way past the hits, into much more sophisticated soul territory. There's a beautifully righteous vibe going on throughout – a sound that's almost like Minnie Riperton at her 70s Capitol best – and titles include "Love Vibes", "Walking The Line", "Time Is Passing By", "I Wouldn't Lie", "Smile", and "Spirit Of Summer". Come Into Our World has the sweet Emotions at the top of their game – one of the brilliant albums that has the soulful trio working hand in hand with Earth Wind & Fire! The girls were plenty great in their early years, but working with Maurice White and company, they really took off – hitting a whole new level that really unlocked some deeply spiritual power in their vocals! And sure, the approach also yielded the group plenty of hits – but for good reason, too – given the classic quality and all-great nature of a set like this. Maurice White produced, and the lineup is filled with plenty of Earth Wind & Fire players too – working with some great arrangements from Tom Tom 84, Wade Marcus, and others. Tunes are balanced between clubby numbers and some nice midtempo moments – and titles include "Where Is Your Love", "Cause I Love You", "Come Into My World", "On & On", "I Should Be Dancing", "Layed Back", and "Yes I Am". New Affair has The Emotions breaking free a bit from the Earth Wind & Fire influence, and grooving nicely with a sweet 80s feel! The girls' voices are still quite wonderful – some of the deepest harmonies in the female soul world at the time – and the tunes kick it up nicely in a blend of snapping bassy club tracks and mellower cuts that sweetly sway with their great vocals! Loads of wonderful tracks – and an album not to miss! Titles include "Turn It Out", "There'll Never Be Another Moment", "Now That I Know", "Love Lies", "When You Gonna Wake Up", and "Here You Come Again". 3CD set features 8 bonus tracks – including "Boogie Wonderland (12" mix", "Don't Ask My Neighbors (single version)", "I Should Be Dancin (single version)", "My Baby Dance", "Changes", "Where Is Your Love (single version)", and "Flowers (single version)". CD

One of the last great soul albums on the Westbound label – the Detroit funk powerhouse known for famous records by Funkadelic, The Counts, and the Detroit Emeralds! Eramus Hall have a vague P-Funk connection – and according to legend, the band were given their name by George Clinton, who had seen a building in Chicago named Eramus Hall – but the sound is a lot smoother than any of the P-Funk projects of the time, and the group's strongest point is their smooth soul groove, augmented by a tight jazz funk style on the best cuts. In a way, they're sort of like a morphed version of late Parliament – with a funk sound that's nicely compressed, but still a lot more true than any of the countless other bands on the market who were aping P-Funk at the time. Highlights include the groovers "Your Love Is My Desire" and "She Shined A Light", both with nice sample moments – and other tracks include "Stuck In The Mudd", "Funk Permit", and "Think Positively". CD

Wayne Escoffery has some great guests on this record – but honestly, the work at the core is more than great enough on its own – as Escoffery has a way of blowing beautifully alongside the piano and Rhodes of David Kikoski, bass of Ugonna Okegwo, and drums of Mark Whitfield Jr – a wonderfully soulful group who seem to push his tenor into these bold, snakey lines that are completely seductive! Then, on key tracks the group's joined by guests – the vocals of Gregory Porter on a great version of "Rivers Of Babylon" and the track "My Truth", and appearances at other points from Tom Harrell on trumpet and Mike Moreno on guitar. Other titles include "Nostalgia In Times Square", "Sincerely Yours", "Dear John", and "Song Of Serenity". CD

Sleepy John Estes was rediscovered in 1962, and made a key journey to Europe a few years later – captured here with a lean sound that's maybe even more haunting than some of his famous early records! The set just features Estes on guitar and vocals, with Hammie Nixon on harmonica and jug – and the sound of Nixon's harmonica is completely fantastic – very eerie and spooky, as if the wind is howling through the backdrop behind Estes while he performs – furthering the edge of the whole thing with a really wonderful sound! A tremendous example of 60s rural blues revival work at its best – on titles that include "Airplane Blues", "Who's Been Tellin You", "Denmark Blues", "I'm A Tearing Little Daddy", "Drop Down Mama", "Easin Back To Tennessee", and "Needmore Blues". CD features two bonus tracks – "Blues For JFK", and an alternate of "I'm A Tearing Little Daddy" CD

A record that marks a slight shift for Family – maybe a more focused approach to songwriting, yet one that's still very much their own – given the undeniably wild vocals of the legendary Roger Chapman! Chapman's knocking it out of the park here – even nudging aside John Wetton, who doesn't sing as much as before – as the group swerve between hard rock moments and some even cooler, artier touches – on titles that include "Burlesque", "Bolero Babe", "Coronation", "Dark Eyes", "Broken Nose", "My Friend The Sun", "Glove' , "Top Of The Hill", and "Ready To Go". CD features lots of bonus tracks – including "The Rockin Rs", and early Olympic Studios versions of tracks, never issued before – plus five more numbers from a BBC Bob Harris Show performance in 1971. CD

A never-issued studio session from the 70s – one that has Stan Getz working with a really superb group that includes Joanne Brackeen on electric and acoustic piano, Niels Henning Orsted Pedersen on bass, and Billy Hart on drums – all exploring the kind of territory that we loved on Stan's classic mid 70s albums on Columbia! The set's on Steeplechase, but this isn't one of those EU live albums with long takes of standards – and instead, the group have a warm, intimate, really cohesive style that's completely great – almost a bridge between Stan's Captain Marvel album and the Concord sessions to come. Titles include some really great song choices – versions of Milton Nascimento's "Cancao Do Sal" and Kenny Wheeler's "Quiso" – plus the classic tune "Litha" by Chick Corea, which Stan recorded so wonderfully in the past. Other titles include "Blue Serge", "I Remember Clifford", and "Lady Sings The Blues". CD features three bonus alternate takes too! CD

Bop legend Al Haig gets a wonderful setting here – a beautifully-recorded trio date done for the Japanese market – with sensitive backing that really shows the development in Haig's sound and style over the years! Bassist Jamil Nasser is a wonderful choice for the group – playing with these round, well-shaped lines that seem to unlock a whole new lyrical side in Al's music – and drummer Billy Higgins fits in perfectly, able to work this subtle magic behind Haig, similar to his stellar sessions with Cedar Walton. The set list is great – material that also shows a side of Al that you might not expect – and titles include Antonio Carlos Jobim's "How Insensitive", Herbie Hancock's "Dolphin Dance", and Wayne Shorter's "Maoco" – plus "Sweet and Lovely", "Chelsea Bridge", "Love Will Find A Way", "Lush Life", and "We'll Be Together". CD

A classic set from Japanese trumpeter Terumasa Hino – and a record that's filled with long, open-ended tracks that rank with his best work of the time! Hino's got all the boldness of his best early years here – none of the smoother sounds that marked some of his albums in the US, and a very spacious approach to trumpet that's clearly inspired by Miles and Freddie Hubbard, but which has all the sharp tones that we love in Hino's work too. The instrumentation is mostly non-electric, but there's an undercurrent of fusion-based ideas – with a lot of free-wheeling solos, and lots of space to open up – and the titles are wonderfully sensitive numbers that include "Speak To Loneliness", "Little Lovers", and "Hi Nology". CD

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

An unissued session from pianist David Janeway, done at a time when he was really hitting his stride – moving across the keys of the piano with this intuitive sense of feeling that makes for a very special record! The quality is a bit hard to describe, but if you've heard other Janeway sessions from the 90s, you'll know what we mean – a lyrical swing that's never sleepy or sloppy, and which always seems to sparkle with these fresh combinations of notes, yet never in a way that's trying too hard, or seems forced! The rhythm work of Harvie S on bass and Steve Johns on drums is a perfect complement to Janeway's piano – and on one track, they're joined by Pete Yellin on alto, for a great reading of "Invitation". Other titles include "Last Embrace", "Very Early", "Interchange", "Who Cares", "Return", and "Yours Is My Heart Alone". CD

Nice work from this funky jazz combo – a group who owe plenty to the sound of 60s soul jazz on Prestige and Verve Records, but who also do plenty to make their own mark as well! The album's issued on the same label as the Haggis Horns, and these guys definitely use strong interplay between the horns to make their mark – the trumpet of Nick Malcolm and tenor of Jake McMurchie, set out over some nice grooves from keyboardist George Cooper – who plays piano, organ, and Wurlitzer – plus a bit of vibes as well! There's vocals on one track from Doc Brown – the cut "Rolling On A High" – and all others are instrumental, and include "The Long Haul", "Chasing Fantasies", "Snakebite Playfight", "Net Zero", and "Enigma" – which was recorded live in Paris. CD

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

The lost legacy of a Twin Cities group who gave the world two great singles back in the day – but also left behind a lot of other excellent material that never saw the light of day! Joker's Wild sound a lot like you might guess from their look on the cover – psychedelic, but down to earth too – that smaller city vibe from a point when garage rock groups were learning how to really play their instruments, write great songs, and expand their sound with a better understanding of the studio – all of which really marks the work on this set! The lineup is lean, and the sound is nice and raw throughout, but surprisingly tuneful too, thanks to strong production – and titles include rare singles "All I See Is You" and "Echo" – plus "Copper Penny", "Good Time", "Hard Road", "I See You", "Stranger", "Witch", "That Man's Not You", "River", "Dissatisfied", "American Dream", "Peace Man", "Park Music", and "Have You Ever Loved Somebody". CD

A standout classic from Fern Kinney – and a set that not only marked a big moment of evolution for southern soul, but also for the Mississippi scene as well! The set was recorded at the Malaco studios in Jackson, but has a vibe that's much closer to some of the TK Records material from Miami – that maturation of southern soul during the disco era – as warmer, more modern touches came into play with rootsier styles of vocals! Mike Lewis handled the string arrangements – giving the record the same disco vibe as some of his other work of the time, including Anita Ward's big debut – and Fern's vocals have this higher range than usual for a southern singer – almost more innately tuned towards clubby rhythms. Titles include a big hit remake of King Floyd's "Groove Me" – really marking the change from the original version – plus "Baby Let Me Kiss You", "Pillow Talk", "Sun Moon Rain", "Angel On The Ground", and "Under Fire". CD

A spot-on set from pianist Andy Laverne – all original material, penned by Andy himself, and underscored here by some excellent work on tenor sax from Ben Solomon! Solomon's got a richness to his tone that's great – a slightly dark edge that seems to bring out the same in Laverne's piano – as the pair work with tight rhythm accompaniment from Jason Tiemann on drums and Mike Richmond on bass – a pair who use a light touch, but in a very effective way – often gently swinging, but letting the piano and tenor really set the tone! Titles include "Corean", "Solace", "Bassline", "Tune For Tyner", "Flipside", and "Wistful Thinking". CD

A set that's headed up by guitarist Max Light, who wrote most of the material on the set – but one that's got some equally strong contributions from tenorist Noah Preminger, who's got this great way of weaving lines around the guitar – all while getting this deft rhythm accompaniment from Kim Cass on bass and Dan Weiss on drums! Cass has a rich, deep tone that's perfect – and Light is at his best here, but seems to get even more from the fullness of Preminger's presence – a mode that's a bit hard to describe in easy words, but which has the album crackling and bristling with energy throughout! Titles include "Luftrauser", "Subjective Object", "Barney & Sid", "Animals", "Half Marathon", and "Henceforth". CD

Julie London's shortened her trademark tresses for the cover of this album – but as the title will tell, she's very much in the best sultry territory of her earlier years! This time around, Don Bagley's turned in some near-perfect arrangements that really bring back the London sound of the late 50s – very spare, slow-moving backdrops that are heavy on jazz, and also feature nice use of guitar – an instrument that's always worked well for Julie. Titles include the excellent "Nice Girls Don't Stay For Breakfast" – plus "I've Got A Crush On You", "There Will Never Be Another You", "I Surrender Dear", "Give A Little Whistle", "Baby Won't You Please Come Home", and the very odd "Mickey Mouse". CD

A rich array of compelling work from Lord Luther McDaniels – vocal group classics, offbeat R&B, and some early soul stormers – all brought together in a wonderful document to his great years in the Bay Area music scene! There's a really offbeat feel to lots of these cuts – a difference from some of the more put-together work coming out of LA, and a lot more homegrown overall – but in a great way that really keeps things interesting, and which marks Luther as an artist who was always willing to experiment with his sound! Lots of these cuts have a nicely raw quality, but are still pretty well produced, too – kind of creatively raw, rather than just accidentally so – and as with Ace's usual standards, the booklet is filled with images and notes that really help illuminate Luther's already-illuminating music. CD features work cut under his own name, and with The 4 Deuces, The Esquires, The 5 Hearts, and The Garnets – titles that include "WPLJ", "Down It Went", "You Led Me On", "Wheelin & Dealin", "Turn The Key", "Donna Dee", "A Thinkin Man's Girl", "Two Of A Kind", "Poor Boy's Song", "Be There Baby", "Someone Somewhere", "Heartbreak Train", "Tell Ya What", and "Just One More Chance". CD

A landmark bit of Brazilian from Europe – and a sweet groover from guitarist Agustin Pereyra Lucena! The set was recorded in Oslo, but it's got the warm sound of a Brazilian jazz set from the time – with Agustin on acoustic guitar and percussion – backed by a quartet that features bass, sax, flute, and piano. The sound's kind of an extension of the Baden Powell groove of the early 70s – but with a deeper, more contemplative approach at times – and Lucena sounds equally great on the mellower tracks as he does on the album's standout groovers! Includes the killer cut "La Rana", a remake of Joao Donato's "The Frog" – plus the tracks "Tema Barroco", "Pra Que Chorar", "3 Horas Da Manha", and "Encuentro De Sombras". CD

A great Junior Mance album from the 70s – one of those dates that was originally only intended for the Japanese market, but eventually got wider release because it sounded so great! Junior's a bit different here than on his Atlantic or Polydor work from a few years before – warm and soulful, with a way of really laying into the keys of the piano gently – never going too far, or getting too funky – but finding a great space in sound with help from Martin Rivera on bass and Salvatore LaRocca on drums. Tracks include a few strong originals – like "The Good Old Days", "Holy Mama", "That Mellow Feeling", and "Blues For The Schnug" – plus versions of "God Bless The Child" and "Miss Otis Regrets". CD

A real landmark of bad-walking soul – one of two rare albums cut by vocalist Esther Marrow, easily one of the hardest singing sisters of her generation! Esther's got roots in gospel, but she's singing here in a righteous mode that features plenty of funky undercurrents in the backings – a style that hits harder than work by Aretha Franklin or any of the better-known female singers of the time – and which holds up beautifully over the years! Many tracks here are obscure ones, arranged tightly by Artie Butler and Gene Page, both of whom do a great job of blending fuller orchestrations with tighter drums on the bottom – giving the record a good kick on most tracks, but still shading in the tunes with enough sophistication to match Esther's interpretation of the work. As hard-hitting as Marlena Shaw during her best years at Cadet – with titles that include "No Answer Came", "Money Honey", "Walk Tall", "Peaceful Man", "Hello Brother", "Chains Of Love", "It's A Long Night", and "He Don't Appreciate It". CD

A landmark record – not only in the history of the western, but in that of Ennio Morricone! The soundtrack, written for this hit Clint Eastwood spaghetti western, is everything you'd want in a 60s western – driving orchestral passages, twanging guitar parts, and spooky little bits that isolate the mood of a scene nicely. The work's an instant classic, and is still one of Morricone's strongest western soundtracks – even if it is one of the most familiar. This expanded Italian version features 17 tracks in all – including some rare mono and stereo mixes – and titles include "Quasi Morto", "Musica Sospesa", "Senza Pieta", "Tortura", "Alla Ricerca Dell'Evaso", "Consuelo Baxter", and "Ramon". CD

Never-issued live work from one of our favorite groups ever headed by baritone modernist Gerry Mulligan – his wonderful quartet with Art Farmer on trumpet! The mix of Farmer and Mulligan is fantastic here – on long tunes that stretch out even more than their studio performances of the period – and, like those, given great piano-less accompaniment from the great team of Bill Crow on bass and Dave Bailey on drums! Farmer is wonderful throughout – young and a bit more raspy than later years, maybe in part because he's on trumpet instead of flugelhorn – and his pairing really brings out a more relaxed, almost soulful side of Gerry at times. On two tracks, Mulligan switches his horn for a piano – equally great on versions of "Spring Is Sprung" and "I Can't Get Started" – next to other long tracks that include "Blueport", "What Is There To Say", "Just In Time", and "News From Blueport". CD

A really landmark album from the Japanese scene at the start of the 70s – one of the key records in which musicians like Takeru Muraoka were helping to discover something new and unique – a fantastic hybrid of modal jazz, freer solo moments, and some nice electric touches on keyboards – thanks to bold work from the great Masabumi Kikuchi! Kikuchi plays a Rhodes with a hard tone that's very edgey – nicely blocked out amidst equally bold rhythms from Yoshi Ikeda on bass and George Otsuka on drums – essential part of the fantastic quartet that really lets Muraoka stretch out and soar with very inventive lines on tenor! All tracks are nice and long, and as brilliant today as when they were recorded – with titles that include "Snoopy", "Electric Zoo", "Fish", and "Desperation". CD

That's Antonio Neves wielding a trombone on the cover – but the set's got elements that move way past his great work on that horn – drawn from very collaborative contributions from different members of the contemporary scene in Rio! The record's got a jazz basis at the core, but quickly explodes into a real style-shifting approach – that legacy of easily mixing modes that has been the hallmark of some of the most creative work from Brazil in recent decades – guided perfectly here by Neves on drums as well as trombone! Antonio sings on one track, and the record also features vocals at points from Leda, Alice Caymmi, Ana Frango Eletrico, and Marcos Esgulera – amidst a whole host of guest musicians too, including Edu Neves on flute, Leo Gandelman on alto, and Hamilton De Holanda on mandolin. Titles include "Lamento De Um Perplexo", "Forte Apache", "Simba", "A Pegada Agora E Essa", "Noite De Temporal", and "Jongo No Feudo". CD

A record with a very careful approach to sound – very slow-building work on soprano sax from Evan Parker, matched with equally thoughtful electronics from Matthew Wright – both players coming together in one of the most subtle executions of this mode we've ever heard! And that quality is only heightened by the fact that the group's a quartet – Peter Evans on trumpet and piccolo trumpet, and Mark Naussef on percussion – players who share the sensitivity of the dual leaders, as they build things up over long improvisations that really showcase that thoughtful sonic sensitivity that's always made Parker such a distinct reedman on the European scene. The whole thing is definitely a free jazz expression of electro/acoustic ideals first forged in the middle of the 20th Century – and titles include "At Altitude", "Drawing Breath", and "Engaged In Seeking". CD

A pair of very obscure Lee Perry recordings – back to back in a single CD set! Black Ark In Dub features a host of recordings done by Lee Perry right before his Pipecock Jackson implosion in the late 70s – but presented by former partner Pauline Morrison, who deserves a lot of credit for putting together a host of great dub tracks that might have been lost otherwise! The record first surfaced in the UK around 1980, with the usual very spare set of packaging that seems to mark some of the best dub records from the time – so there's little in the way of actual details about the recordings, but the quality of the bassy, echoey tracks definitely resonates with the strengths of the Black Ark studios at their height Titles include "Cool Rockers", "Jah", "Rasta Man", "Camp", "Dreadlock", "Guidance", "In The Valley", and "Money". Black Ark Vol 2 is a bit different – more of a various artists collection, put together by Pauline Morrison, with material rescued from the Black Ark studios before their implosion – all mixed by Lee Perry with his amazing mid 70s ear for sound – which makes for timeless magic on cuts that include "Ethiopia" by Carol Cole, "Give Praises" by The Silvertones, "How Deep Is Your Love" by The Inamans, "Got To Be Irie" by The Originals, "I Am I Said" by Bunny Rugs, "Jah Love Is Sweeter" by Lacksley Castell, and "Mumbling & Grumbling" by Junior Byles. CD

A well-balanced quartet session of the sort that seems almost effortless, and in the best recent style of the Steeplechase label – a really strong leader with a voice that really inspires the others in the group, as they move through some of his own originals and a nice mix of more unusual titles too! Rich Perry really lets the lineup open up and find their own pace amidst the tune – especially pianist Gary Versace, who has nicely sharp edges and a sense of freedom from time to time – working next to the bass of Jay Anderson and drums of John Riley. Riley and Versace both contribute key tunes the the session, along with Perry – and titles include "Now", "No Lines", "Living", "Gotta Blues One", "Blind Faith", "Progression", and "Mud". CD

A wild set of early 70s leftfield folk from Caroline Peyton – a freewheeling batch of tunes that's a little bit more out there than the warmer, sunshine folk soul of the later Intuition album – but a unique gem that's a great showcase for Caroline's stunning voice, and the songwriting of partner Mark Bingham. The duo's creative origins trace back to a hippie commune outside of Bloomington, Indiana – and the tunes often feel like an unselfconscious, artier riff on the Cali folk scene of the time. The arrangements are built around the voice, and piano on many of the tracks. Unconventional, but warm and true – well worth a late discovery. Original album tracks include "The Sky In Japan Is Always Close To You", "Pull", "Don Beggs", "Tuna", "Engram", "Sweet Misery", "Hook", "Gone For A Day" and more. The Numero/Asterisk reissue goes the extra mile with liner notes by Edd Hurt, lots of photos, and bonus tracks including "Breathe (Live)", "Alll This Waiting", "Paths Of Light", "White Teeth" and enhanced video footage – "Call Of The Wild" and "Fishing Blues" live at the Hummingbird Cafe, in Bloomington, Indiana. CD

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

The one and only album that Sun Ra ever cut for the Savoy label – a beautifully understated session that mixes more conventional jazz with some particularly Ra-like touches! The group on the set is extremely tight – especially the horn work of John Gilmore, Marshall Allen, and Pat Patrick – who glide together along with some of the best mainstream modernists of the 50s, but break out with earthier tones and phrases that clearly mark their playing as different from the norm. Ra plays relatively straight piano for the album, but there's more than enough Arkestra touches from other players on bells and assorted percussion – emphasizing the rhythmic qualities of the tunes, and really living up to the promise of titles that include "Bassism", "China Gates", "Of Sounds And Something Else", "Tapestry From An Asteroid", "Jet Flight", "Space Jazz Reverie", and "Where Is Tomorrow?". CD

Some of the greatest British jazz of the 60s – two early albums by the groundbreaking Ian Carr/Don Rendell quintet! Shades Of Blue is the debut of a legendary British jazz group – one who not only gave that nation's scene a fresh voice in music, but who also really set the tone for many other acts to come! After a stretch when the London scene was doing a great job of matching American efforts in bop and swing, players like Don Rendell and Ian Carr found a way to really carve out some bold space of their own – here, by matching their own strong sense of writing and arranging, always filled with beautiful tone and color, with some of the more modern phrasing and styles that were just creeping up around town. The set's not nearly as experimental as the work of Joe Harriott, but has all the hallmarks of that generation's openness to new ways of expression – often given a surprisingly soulful swing, and captured perfectly as one of the early entries in the famous Lansdowne Series recordings. The rest of the group is equally great – and in addition to Rendell on tenor and soprano sax, and Carr on trumpet and flugelhorn – the combo includes Colin Purbrook on piano, Dave Green on bass, and Trevor Tompkin on drums. Titles include "Garrison 64", "Blue Mosque", "Just Blue", "Latin Blue", "Sailin", and "Big City Strut". Dusk Fire has a great group getting even better – as the legendary pairing of tenorist Don Rendell and trumpeter Ian Carr is joined by pianist Michael Garrick – who was really helping to shape the sound of British jazz at the time! The album's only the second from the Rendell/Carr Quintet, but it's already moving strongly forward – with this sense of composition and focus that's really amazing – served up in original tunes by all three creative forces in the lead – often with this great balance between soulful swing and modern ideas that makes the whole thing a dream all the way through! Don plays tenor, soprano sax, flute, and clarinet; Carr plays trumpet and flugelhorn; Garrick is on piano, Dave Green is on bass, and Trevor Tomkin is on drums – on titles that include "Prayer", "Dusk Fire", "Hot Rod", "Spooks", "Jubal", and "Tan Samfu". CD

Trumpeter Jim Rotondi's in a classic pose on the cover – an image that shows just how much he brings to his music at a visual level, even though his sound seems so effortless and clear from an audio perspective! The set's filled with the kind of well-executed work on trumpet and flugelhorn that always makes Rotondi's records so great – especially in the past decade or so – music that's full of feeling, but which never seems forced or overstated – qualities that also come through in the rest of the group too, a lineup that features Rick Margitza on tenor, Danny Grissett on piano, Joshua Ginsburg on bass, and Vladimir Kostandinovic on drums. Rotondi's been recording for the Criss Cross label for years – but the record also really shows a great evolution and development from those early sides too – especially on original material that includes "Pete's 32", "Voice", "Leemo", "Father John", "Happy Feet", and "Jim's Blues". CD

Dave Scott has a wonderfully sensitive sound here – a quality that almost reflects the image on the front, which seems to have him listening to the trumpet he holds in his hands – a photo that really gets at the special sort of ear that Scott has for crafting these beautiful tones on his instrument! The music isn't familiar hardbop, even though the lineup might make you think that – but it's also not free jazz either – as Scott instead has this way of composing original material that's as much about the texture of the tunes as it is the individual voices, at a level that sounds especially strong as his instrument is matched with the tenor of Rich Perry and piano of Gary Versace – the latter of whom has a wonderfully diverse set of styles here. Other group members include Johannes Weidenmuller on bass and Mark Ferber on drums – and tunes, as mentioned, are all originals – with titles that include "KC Swingin", "Ralph Retired", "Song For Alice", "Indifference", and "Venus At Dusk". CD

A really unique take on the music of jazz legend Tadd Dameron – a set that focuses entirely on vocal versions of his compositions – a side of Dameron's legacy that's sometimes overlooked! Tadd wasn't that much of a lyricist himself – although he did do two of the songs here – while others are written by Irving Reid, Bernie Hanighen, and Jack Reynolds – all with a mix of lyrics that really fit the famous modern idiom in Dameron's music – delivered instrumentally by a core combo that features Gary Smulyan on plenty of strong baritone sax solos, with Pete Malinverni on piano, David Wong on bass, and Matt Wilson on drums. Anais Reno handles all the vocals – and titles include "Sweet Life", "Never Been In Love", "Whatever Possessed Med", "Weekend", "Lovely One In The Window", and "You're A Joy". CD

Fuzzy funk from the Italian scene of the early 70s – a really landmark record that ties together all the best elements happening in the soundtrack, sound library, and psych scene at the time! The group features two guitars and lots of organ and keyboards from the leader – really stretching out on the side-long title track "Under Pompelmo", which is a massive jam, but one that never trips out too much to stop being funky – a surprisingly great groove that stays right in the pocket for all of its 16 minutes and 50 seconds! The flipside features shorter tracks, but equally great – all like some lost sound library funk numbers of the period, but served up by a small combo with more focus on guitar and weird production styles – on titles that include "Honda", "When I See You", "Echoes From Canyon", and "To Rebound". CD

Really great work from Japanese bassist Isao Suzuki – a live performance recorded right at the same time as his groundbreaking albums for the Three Blind Mice label – and maybe even more compelling than some of that work! Suzuki, like Ron Carter and a few other key contemporaries, is way more than a standard bassist when he works as a leader – and here, he opens up the songs and the structure of the record in all these really great modes – creating a sense of soulful variety that really keeps things interesting throughout! Tracks are nice and long – and feature Suzuki on bass, cello, and electric piano – plus Kazumi Watanabe on guitar, Shinji Mori on drums, Osamu Kawakami on second bass, and Kenji Mori on alto, bass clarinet, and flute. Singer Mark Nakamoto delivers great vocals on the tracks "LA Breakdown" (billed incorrectly here) and "Bird Of Beauty" – and other tracks include very long takes on "Orang-Utan" and "Blue Road". CD

The hippest side of Cannonball Adderley at the end of the 60s – that loose, soulful vibe he was serving up on some of his coolest records for Capitol at the time – stretched out here over some very long tracks recorded live in France! The year alone marks the record as a great one – as Cannon in 1969 could do no wrong – and he's working here with his crack quintet that includes Nat Adderley on cornet, Victor Gaskin on bass, and Roy McCurdy on drums – plus the mighty Joe Zawinul on both acoustic and electric piano – really finding his groove here, with that incredible sense of chunky rhythm that really seemed to set Cannonball and Nat on fire! Titles include "Why Am I Treated So Bad", "The Scavenger", "Experience In E", "Blue No Boogie", "Walk Tall", "Come Sunday", "Work Song", and "Manha De Carnaval". CD

This ultra-hip ensemble is celebrating its 10th Anniversary – and in doing so, has maybe given us their best album yet! The group's overflowing with work from an all-star lineup – Wayne Escoffery on tenor, Jeremy Pelt on trumpet, James Burton III on trombone, Victor Gould and Xavier Davis on pianos, Vicente Archer and Rashaan Carter on basses, and Johnathan Blake and Mark Whitfield Jr on drums – the last two pairs of whom shift in and out of the ensemble as the set moves on – but with such rock-solid energy, there's a unified vibe to the whole set. Some of the best tracks have this soaring, searching energy – and the whole album's got a very visionary approach, served up by musicians who are looking to do way more than just run through a few standards. Titles include "Black Heart", "Cold Switching", "Soliloquy", "Lookin For Leroy", "Coming Of Age", and "Truth To Power". CD

A classic Arkestra live set from the end of the 80s – beautifully recorded, and put together with a lot more dynamic energy than some of the less professional Sun Ra live dates from the time! The set runs for nearly an hour in length, and tracks are long, but often quite focused – served up with a good deal of soulfulness in both the rhythms and horn work, as well as some of that Ellington-inspired tightness that marked Ra's best later years. Players include Michael Ray, John Gilmore, Tyrone Hill, Marshall Allen, John Gilmore, and Ahmed Abdullah – and titles include "Astro Black", "If You Came From Nowhere Here", "Can You Take It", "Angel Race/I Will Wait For You", "Cosmo Approach Prelude", and "Interstellar Lo-Ways". CD

A fantastic live performance from Soft Machine – done early in their career, and with a vibe that's maybe a bit different than some of the later, longer, more freewheeling concerts that have circulated on the market! Robert Wyatt's presence in the group is still very strong here, both on drums and vocals – and the record's got some shorter songs, but which still come across with all the power you'd expect from the trio of Wyatt, Mike Ratledge, and Hugh Hopper! Titles include "Dada Was Here", "Have You Ever Been Green", "Pig", "Fire Engine Passing With Bells Clanging", "Thank You Pierrot Lunaire", "As Long As He Lies Perfectly Still", and "10:30 Returns To The Bedroom". CD

A long-overdue collection of work by Balka Sound – an important 80s group from Brazzaville, and one whose name evokes their style of music – a sound based in folksy roots, but which is updated here with electric guitar and bass, next to lively percussion and really great vocals! The group's lead singer is Nkibi Albert, who has this really enigmatic way of putting across a lyric, especially when a bit of echo is used in the production – and amidst the other instrumentation, he also plays ngonfi as well. The production is great on most of these tracks – not nearly as mainstream as other African sounds from the time, which were rising to meet the global world music market – and titles include "Bia Sala", "Lekou", "Ku Mavula", "Kidilu", "Ah Luisaala", "Nia Nia", "Wa Yiwou", "Mwan Kisana", and "Kwele". CD

Four of the more obscure RCA albums from the great Bobby Bare – all brought together here in a single set! First up is the very unusual English Countryside album – a special set that has the vocals of Bobby Bare paired with a group from the UK – Liverpool's Hillsiders, who sing with a style that's a bit folk, and a bit rock – but which takes on a very distinct country vibe amidst the RCA production of Chet Atkins! Both Bare and The Hillsiders sing solo on the record – but most of the set has them paired together, and the presence of all those voices on the tracks create a nice sense of spontaneity – maybe a hint at the more relaxed recording approach that Bobby would use on his big albums of the mid 70s! Titles include "Sweet Dreams", "Six Days On The Road", "Find Out What's Happening", "Love's Gonna Live Here", "Goin Home", "Blue Is My Lonely Room", and "I Washed My Face In The Mountain Dew". Margie's At The Lincoln Park Inn is a seminal album in the career of Bobby Bare – and the record that really has him turning from a young smiling country singer to the kind of more adult, mature talent that would really send him over the top! The album's promise of "controversial country songs" is certainly apt – as in addition to the great Tom T Hall title cut, the album also features Bare taking on great material from Kris Kristoffersen, Mel Tillis, and even the team of Spooner Oldham and Dan Penn – all set to arrangements that are nicely more sophisticated than those used on the more pop productions of some of Bobby's earlier albums. Titles include "Margie's At The Lincoln Park Inn,", "The Law Is For The Protection Of The People", "Watching The Trains Go By", "Skip A Rope", "Rainy Day In Richmond", "Cincinnati Jail", "Wild As The Wind", and "Drink Up & Go Home". I Hate Goodbyes is the record that marked the return of Bobby Bare to RCA Records in the early 70s – and one that also marks the start of a very different phase in Bare's career! This time around, Bobby's handling the production himself – working with the kind of thoughtful, mature material that would really let him open up – songs from Billy Joe Shaver, Mickey Newbury, the team of Bill Rice and Jerry Foster, and even an early tune from Shel Silverstein – who would soon become one of the biggest contributors to Bobby's records. The vibe is very different than his RCA material of the mid 60s, and in a great way – on titles that include "I Hate Goodbyes", "Restless Wind", "Ride Me Down Easy", "Send Tomorrow To The Moon", "You Know Who", "An Offer She Couldn't Refuse", "What's Your Mama's Name Child", and "Poison Red Berries". Last up is Cowboys & Daddys – an overlooked gem in the mid 70s RCA years of the great Bobby Bare – and a set that really shows the dedication that Bare had during these years to finding the most sophisticated material of the new country generation! The list of songwriters alone is great – as the set features tracks from Terry Allen, Shel Silverstein, David Hickey, and Tom T Hall – plus an early contribution from Bob McDill, with whom Bare would soon record a lot more material on albums to come. There's a mature, laidback vibe to the whole set – different than some of the more playful Bobby Bare albums of the time – and titles include "Chester", "The Cowboy & The Poet", "Amarillo Highway", "Speckled Pony", "Calgary Snow", "Last Dance At The Old Texas Moon", "Pretty Painted Ladies", and "The Stranger". CD

A fantastically soulful album from Jorge Ben – one of his greatest records ever, and a key part of Brazilian music in the 70s! The album marks an earthier shift for Jorge – a sound that's still rooted in the samba influences of the 60s, but which also takes on a bit more soul at the bottom – thanks to rhythmic contributions from Trio Mocoto, who work here famously to help Ben shape the overall feel of the set! There's still a bit of larger orchestrations at moments, but these are used sparingly just to sweeten the sound – leaving the main force of the music to come from Jorge's guitar, and the cuica, percussion, and tamborim of the trio. The vocals are wonderful too – slightly raspy, and with a bit more feeling than we ever remember Jorge having on record – sometimes a bit intimate, yet always with an undeniable presence throughout. One of those records that still sends chills up our spines, year after year – with tracks that include "Oba La Vem Ela", "Ze Canjica", "Pulo Pulo", "Apareceu Aparecida", "Terezinha", "Mulher Brasileira", "Forca Bruta", "O Telefone Tocou Novamente", and "Charles Junior". CD

Spiritual jazz saxophonist Nat Birchall works here with an even more expanded version of his Unity Ensemble – in ways that make for a record that's even more righteous and expressive than ever before! Nat's got this way of spinning out solos over a modal groove that just gets better and better – blowing both soprano and tenor here, in a group that features additional tenor work from Brit jazz great Alan Skidmore on most of the tracks too – a great second voice next to Birchall's own. The core combo also features piano from Adam Fairhall, bass from Michael Bardon, drums from Paul Hession, and percussion from both Lascelle Gordon and Mark Wastell – helping to craft an earthy groove that makes Nat's cosmic solo flights sound even more heavenly! There's definitely an old school post-Coltrane vibe here, but also a lot more going on – and titles include "Elevation", "Jubilation", "New World", "Exaltation", and "Greetings Of Love". CD

Pivotal work from piano genius Paul Bley – an important recording done in Rome in the mid 60s, and one of those sessions that really helped Bley reinvent the sound of jazz piano at the time! The record's got this beautiful mix of free improvisation and group structure – a vibe that's very different than territory that Cecil Taylor was starting to explore, even though Bley can be relatively bold on the keys – with this sense of melody that lingers throughout, even on the more percussive passages – which feature superb work from a young Barry Altschul on drums, alongside bass from Mark Levinson, who is a subtle but powerful force in the proceedings! Titles include key tracks penned by Annette Peacock and Carla Bley – "Both", "Albert's Love Theme", "Ida Lupino", and "Touching" – plus a great take on Ornette Coleman's "Ramblin". CD

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

A fantastic testament to the genius of the transatlantic meeting that is the Peter Brotzmann Chicago Tentet – a group that manages to bridge the sometimes-unwieldy modes of the improvising orchestra, and the energy of a smaller free jazz combo! All the players seem tied together perfectly – both at an emotional level, and a musical one – so that the combination of energy is way more than the sum of its mighty parts – a real accomplishment, given that the "parts" include Ken Vandermark, Peter Brotzmann, Marts Gustafsson, and Mars Williams on reeds – plus Joe McPhee on trumpet, Jeb Bishop on trombone, Fred Lonberg-Holm on cello, Kent Kessler on bass, and both Michael Zerang and Hamid Drake on drums. The set begins with a searing 37 minute piece dedicated to Robert Rauschenberg – Vandermark's "All Things Being Equal", which almost has a Mingus-like combination of structure and solo. "Images" follows, and is a more freewheeling piece – but completely wonderful too! CD

The Challengers cook it strongly here – adding in a bit more sax than before to their sweet guitar instrumental groove – almost using the instrument as a second sort of engine to give themselves even more power than before! There's a slightly deeper tone than on the group's previous records – all the sharp guitar lines that made The Challengers one of the best of the bunch, but with a range that stretches out nicely overall – and keeps even the familiar tunes from sounding like the usual bag! Titles include "Mr Rebel", "K-39", "Out Of Limits", "One Mint Julep", "Bedlam", "Chiflado", "Just Drums", and "Mark Of Zorro". CD

One of the most heavenly albums ever recorded – a sublime post-60s session by Joao Gilberto, one with even more fluid grace than his original bossa nova classics! The setting here is extremely spare – Joao on vocals and acoustic guitar, backed by only a slight bit of percussion – and recorded with an sound that's incredibly clear and incredibly precise – so that each gentle note, each slight rasp of the guitar comes through beautifully – as do Joao's breathily personal vocals! There's a sense of poise and presence here that Gilberto hardly matched again – and that's saying a heck of a lot, given how great most of his other records already are. The whole thing's tremendous – a true treasure, and easily one of the top classics in Brazilian music from the 70s. Titles include a landmark version of "Aguas De Marco", plus "Undiu", "Falsa Baiana", "Avarandado", "Na Baixa Do Sapateiro", "Izaura", "E Preciso Perdoar", "Valsa", and "Eu Vim Da Bahia". CD

One of the rarest albums ever from percussionist Milford Graves, and one of the most intense as well – a completely unbridled live performance that features saxes from Hugh Glover and Arthur Doyle! Glover and Doyle are amazing together – and with that trademark raspy tone, Doyle's set apart nicely, even amidst the frenzy – and Graves is a complete monster on the drum kit, moving with a speed that must have been breathtaking to see in person – at a level that always has us checking the record to make sure that we don't have it set to 45rpm! If you've ever overlooked the contributions that Graves has made to improvised music, this is the record to convince you – with titles that include "Ba", "Bi", and "Babi". Great bonus material too – a whole CD that features the same trio, playing together 8 years before – recorded in New York in 1969, with four improvisations of varying length. CD

Possibly the best album ever by this excellent Brazilian percussive combo! The record begins the groove where the group's other albums started – by taking hard batucada rhythms, and tight samba grooves – but it also adds in a bit tighter production, and shows a marked commitment to hitting the same sort of dancefloor groove that you'd expect from other work on Far Out. Wilson Das Neves and Robertinho Silva are at the head of the percussion team – and tracks include "Roda Baiana", "Bo", "Batucumba", "Taruma", "Berimbal Capoeira", and "Read Between The Lines". CD

The title's an apt one – as the record features one side of Duke Ellington compositions, and one side of Charlie Parker tunes – all played by bop legend Al Haig in an intimate solo setting! The obscure date is one of Haig's most personal sessions ever – a record that has even more sensitivity than some of his earlier classics, and which shows a surprisingly deep side of his talents in these later years. There's a subtle sort of charm that marks the Japanese origins of the set – and titles include "Yardbird Suite", "Lover Man", "I Remember You", "Sophisticated Lady", and "Prelude To A Kiss". CD

Great experimental work from Holger Hiller – a set that was issued on the important German new wave label Ata Tak, but which was maybe even more revolutionary than most other records on the imprint at the time! Hiller bridges so many different worlds here – earlier German electronic experimentation at an academic level, some of the spacier sounds of the prog generation, and the really creative exploration of earlier ideas in a more personal level that marked the new wave of the post-punk years – using some elements here that would be right at home on a cold wave recording, but with modes that are sometimes more playful, and almost in territory that Holger Czukay would explore on some of his solo work of the decade. The mix of keyboards, vocals, and analog elements is great – and titles include "Jonny", "Hosen Die Nicht Aneinander Passen", "Mutter Der Frohlichkeit", "Das Feuer", "Ein Hoch Auf Das Bugeln", and "Budapest Bukarest". CD

Pivotal work from trumpeter Freddie Hubbard – eleven full albums recorded by the young jazzman as a leader, together showing a really incredible scope of his talents in just a few short years in the studio! The Blue Note albums here already show an incredible evolution – from initial hardbop crackle at the best level of the label, to a slight shift into new thing territory that marks a more experimental side of Freddie's work that would take off later in the 60s. There's also two Impulse Records releases in the package – the completely sublime sextet outing of The Artistry Of Freddie Hubbard – a great date with Curtis Fuller on trombone, Tommy Flanagan on piano, and John Gilmore on tenor – making a rare appearance in the studio away from the Sun Ra Arkestra! The other Impulse album is titled Body & Soul – and has Hubbard amidst a larger group of modernists on most tracks, with these incredible Wayne Shorter arrangements – then in a small group with shorter on tenor and Eric Dolphy on alto and flute. Blue Note albums include Breaking Point, Blue Spirits, Open Sesame, Going Up, Hub Cap, Ready For Freddie, Hub Tones, and Here To Stay – with players who include Tina Brooks, Jimmy Heath, and Wayne Shorter on tenors; McCoy Tyner, Cedar Walton, and Herbie Hancock on pianos; Paul Chambers, Sam Jones, and Reggie Workman on basses; and James Spaulding making a key early appearance on alto and flute. 70 long tracks in all – and a very detailed booklet of notes with rare photos! CD

Fiercely funky Freddie Hubbard – a late 70s live date, but one that has the same bold power as his early 70s albums for CTI! Like those classics, the tracks here are all quite long – and served up in this beautifully flowing mix of acoustic and electric elements – Freddie on trumpet, Hadley Caliman on tenor and flute, Billy Child on piano and keyboards, Larry Klein on bass, and Carl Burnett – a group that works together so beautifully in the live environment, you'd think their performance was the process of multiple takes! We love the spiritual energy that Hubbard can get in such a setting – and most of the record stretches out with very long tracks, including two that go past the 20 minute mark. Titles include "Take It To The Ozone", "Little Sunflower", "One Of A Kind", "Here's That Rainy Day", "Blues For Duane", and "Love Connection". CD

Essential funk in a single set – three killer albums from James Brown's legendary backing group! First up is Food For Thought – the classic first album by The JBs – James Brown's Fred Wesley-led backing band, and the force behind most of his greatest records of the early 70s! The band are incredible at this point – sharper, harder, and funkier than just about any other combo around – and that includes all the thousands of groups in the funky 45 underground who were always trying to copy their sound, but never got things this right! Not only are the rhythms the stuff of legend – but the use of the instruments is far far above the norm – as can be heard on the mindblowing "The Grunt", which was sampled heavily by Public Enemy to great fame – and which features a saxophone solo that sounds more like a whistling tea kettle! The set collects some of the group's best early singles, and includes all of the short little funky cuts that made them a legend right out of the box – "Pass the Peas", "The Grunt", "These Are The JBs", "Hot Pants Road", "Wine Spot", "To My Brother", "Blessed Blackness", "Theme From King Heroin", "Escapism (parts 1 & 2), and "Gimme Some More" – all together here in one tight little album of massive funky hard beats and breaks! Doing It To Death is an incredible album – a landmark piece of funk that nobody should be without, funk fan or not! The album is the second to feature James Brown's famous backing combo of the early 70s – and unlike their first one, which was really more of a collection of singles, this album has the group playing hard, long, and loud, in the free funk improvisational mode that was James' real contribution to the music at the time. The tracks are all incredibly long, with James at the forefront, egging the band on with shouts and comments – but also letting them open up large instrumentally, playing in a mode that's as much jazz as it is funky soul. The whole thing's peppered with some nice shorter segues between tracks – but the long cuts are the winners, and are some of the best funk ever recorded! Titles include "Mo Peas", "Doing It To Death", "La Di Da La Di Day", "You Can Have Watergate, Just Gimme Some Bucks & I'll Be Straight", and "Sucker". Last up is Damn Right I Am Somebody – quite possibly our favorite record by the JBs, ever! The set starts with a wonderful conversational bit – rapping and musing on the idea of "Damn Right, I Am Somebody" – showing the group in a political and righteous mode for the first time ever. The grooves then kick in – with the same heavy funk as on earlier records, but also a nice nod towards experimental production – from strange fade ups and fade downs, to stark time and rhythm changes, and even bits of electronics used to create some very cool moments in the grooves! The whole thing's as dead funky as can be, and is stuffed with insane classics like "Blow Your Head", "Same Beat", "Damn Right I am Somebody", "I'm Payin' Taxes, What am I Buyin'", and a great cover of Marvin Gaye's "You Sure Love to Ball"! CD

A set of tracks recorded in the early 90s, unreleased until many years later – and an album that shows a beautifully sensitive side of the music of guitarist Calvin Keys! The title is sometimes very apt – as Calvin is often out front in the lead, crafting these warm lines built from well-chosen chords – but the album's also not just a solo set, as it features work from Jeff Chimenti on piano, Tim Haul on bass, Mark Lignell on drums, and Kenneth Nash on percussion. There's even some light strings at times – but very light, as they just shade in the edges – on titles that include "Dolphin Dance", "Quiet Now", "Isotope", "Marela", "Windows", and "What's Goin On". CD

Fantastic work from one of the grooviest singers of the 60s – the amazing Mina, a vocalist who hardly made waves on this side of the Atlantic, but who served up a wealth of wonderful material from the Italian scene at the time! You might know Mina from a few key soundtrack contributions she made over the years – her vocal range is stunning – and arrangements here are often by important forces from the Italian cinema scene – like Ennio Morricone, Piero Piccioni, Augusto Martelli, and Bruno Canforna – all of whom give Mina these full, rich backings that really match the vivid quality of her voice! But there's also groovy elements at the core, too – styles that are similar to French or British female pop of the period – especially with some of the soul currents of the latter – but shaped differently, given both Mina's style, and the Italian language and the way it comes across in song. The package is long overdue – maybe the first-ever done for the international market on Mina's music – and as with all work on Ace, the presentation is great, with very detailed notes that will teach you plenty while you enjoy the songs – a lineup that includes "Se Telefonando", "E L'Umo Per Me", "Io Sono Quel Che Sono", "No", "Citta Vuota", "Tu Farai", "Beve Amore", "Addio", "Insensatez", "Se C'E Una Cosa Che Mi Fa Impazzire", "TA Ra Ta Ta", and "La Banda". CD

One of the key classics from the hardbop years of Blue Note – the kind of album that really set the label apart from the rest at the time! Soul Station is a deceptively simple album that has tenor giant Hank Mobley playing standards and originals in a quartet with Wynton Kelly on piano, Paul Chambers on bass, and Art Blakey on drums– a spare and simple group, but one with a direct energy that's really amazing – in a way that makes for some of Mobley's best solos on record! The tracks here are all relatively basic in construction, but this territory allows all players to really relax and open up – especially Mobley, who really dominates the proceedings with some well-blown lines on tenor. Blakey's work is great too – nicely restrained, and the date marks one of his last sessions ever as a sideman. Titles include "Soul Station", "Split Feelin's", "Dig Dis", and "This I Dig Of You". CD

One of the key classics from the hardbop years of Blue Note – the kind of album that really set the label apart from the rest at the time! Soul Station is a deceptively simple album that has tenor giant Hank Mobley playing standards and originals in a quartet with Wynton Kelly on piano, Paul Chambers on bass, and Art Blakey on drums– a spare and simple group, but one with a direct energy that's really amazing – in a way that makes for some of Mobley's best solos on record! The tracks here are all relatively basic in construction, but this territory allows all players to really relax and open up – especially Mobley, who really dominates the proceedings with some well-blown lines on tenor. Blakey's work is great too – nicely restrained, and the date marks one of his last sessions ever as a sideman. Titles include "Soul Station", "Split Feelin's", "Dig Dis", and "This I Dig Of You". CD

Additional material and unreleased from one of the greatest 60s recordings from the Wynton Kelly Trio – thanks to some wonderful guest work from guitarist Wes Montgomery! Montgomery's working here in a gusty, rootsy style that recalls his best soul jazz sides from the earlier years – and which have a feel that's quite different than his later, more largely-arranged work for Verve. The Kelly Trio is in perfect form – with Wynton's heavy left hand leading the group on the piano, and superb rhythm backing from the team of Paul Chambers and Jimmy Cobb. This massive set marks the first official release of all these tracks that were recorded at the time, but not on the original Verve album Smokin At The Half Note – with work from Larry Ridley on bass on a number of tracks, and titles that include very long versions of "The Song Is You", "Star Eyes", "Four On Six", and "Cherokee" – plus takes on "Cariba", "Blues", "Laura", "Impressions", "Mi Cosa", "No Blues", and "All The Things You Are". CD

A trio of classic albums from The Muscle Shoals Horns – with bonus tracks too! First up is Born To Get Down, by a group who were definitely born to get down – as they'd proved before on countless funk and soul sessions in the south – and as they prove once again with this masterful album on their own! The style here is surprisingly well-formed – not just horn players getting to shine in the lead, but a soul group with a tightness that matches some of the hippest, most sophisticated groups of the time – working here with really well-crafted rhythms that often hit an excellent midtempo groove, and avoid any disco-era cliches. Muscle Shoals legend Barry Beckett helps the group out on keyboards, arrangements, and production – and trumpeter Harrison Calloway turns out to be a surprisingly great singer in the lead. Titles include "Born To Get Down", which has a nice keyboard break in the middle, plus "Bump De Bump Yo Boogie", "Give It To Me", "Open Up Your Heart", "Where I'm Coming From", and "Break Down". Doin It To The Bone is a killer album from the Muscle Shoals Horns – and way more than just a set of studio players stepping out for some time in the spotlight! Sure, the MSH had worked on hundreds of sessions by this point – but there's also a sense of ownership and leadership they never had before – a real sense of trying something fresh, and really making the album all their own! To that respect, they certainly use their horns – but also work in plenty of vocals, too – and definitely emphasize the rhythms, which often have this cool compressed vibe that's very much in the best Earth Wind & Fire style – especially on the midtempo numbers that really make the album a killer. Production is by Barry Beckett, who goes for a nicely modern soul approach – and of all the horns, Harrison Calloway is probably the lead talent here – handling most of the arrangements, songwriting, and vocals. Titles include "What's Goin Down", "Dance To The Music", "I Just Wanna Turn You On", "Addicted To Your Love", "Beware Of The Rip Off", and "Keep On Playing That Funky Music". Last up is Shine On – an early 80s set from the mighty Muscle Shoals Horns, but one that cooks every bit as much as their funk classics from the 70s! At some level, this album may well be the group's funkiest – but in a style that's got some of the best 80s qualities in the grooves – the kind of tight basslines and sweet keyboard lines that marked some of the best work of the time – mixed with the group's sublime horn lines, which provide these jazzy inflections that really warm things up in a brilliant way! Most of the rhythms are nicely right in the middle – neither too uptempo, nor too head-noddy – and the whole thing's a really overlooked gem that's a standout funky set from the time. Titles include "Celebrate Recreate Participate", "She Was Once My Woman", "Shoalin", "More Than Ever Now", and "Don't Bust Yo Bubbles". 2CD set features bonus tracks – 7" mixes of "Born To Get Down", "Bump De Bump Yo Boodie", "Where I'm Coming From", and "She Was Once My Woman" – plus "I Just Wanna Turn You On (12" mix)". CD

A stellar early 70s collection of Pablo instrumental sides, tracked between the groundbreaking Java, Java, Java and East Of The River Nile records – Landmark material from a master! Like the above mentioned classics, this one features Pablo's melodica prominently, over some nice roots rhythms laid down by an all star cast, including Carlton Barrett, Santa Davis, Familyman, Fully Fullwood, Chinna Smith, Ansell Collins and many more. Includes "Dub Organizer", "Arabian Rock", "Pablo In Dub", "Skateland Rock", "Dread Eye" and "Lover's Mood". Classic! CD also includes 3 bonus cuts: "Java", "Guiding Red" and "Marabi". CD

A great reunion of pianist Pandelis Karayorgis and reedman Dave Rempis – both of whom seem to bring out the best in each other on the album's two long, improvised tracks! Rempis blows alto, tenor, and baritone – crafting those completely imaginative solos we love in his music – almost these sensitive journeys in sound that have a distinct presence that always marks Dave as one of the most gifted players of his generation – set off strongly by the piano work of Pandelis, who has a much freer approach on the keys. The group also features bass from Jakob Heineman and drums from Bill Harris – and titles include the very long "Stone Fruit", and the shorter "Burning Bush". CD

Two classic albums from the great Sonny Rollins – both made during some time on the LA scene of the late 50s, and matched here with a more obscure third album that issued alternate sides from the sessions! First up is the classic Way Out West – a set that brings the east coast tenor of Sonny Rollins into contact with a west coast rhythm section of Ray Brown and Shelly Manne! Despite Rollins' silly look on the cover, and the album's overall "western" theme, the session's a brilliant one – right up there with Sonny's strongest trio sides of the late 50s, and a key link in a string of excellent recordings for Blue Note, Prestige, and Riverside! The lack of a piano really opens up the style of the set – letting Sonny explore freely on his solos, while Brown's bass and Manne's drums do more than enough to keep the rhythms going on their own. Solos aren't as "out" as on the Village Vanguard sessions, but certainly every bit as inspired – and titles include "I'm An Old Cowhand", "Solitude", "Come, Gone", "Way Out West", and "Wagon Wheels". Next is Sonny Rollins & The Contemporary Leaders – one of Sonny's brilliant west coast sessions for Contemporary – records that shouldn't sparkle as much as they do, but which actually stand with his best work of the 50s! Sonny's blowing in front of a session of "leaders" that includes Hampton Hawes, Barney Kessel, Leroy Vinnegar, Shelly Manne, and Victor Feldman, who plays vibes on one track. Sonny's the real leader here, though – as his bold, proud tenor tone really takes front seat, carving lines that never get tired, bringing a sparkle into tunes like "You", "How High The Moon", "I've Found A New Baby", "The Song Is You", and "I've Told Ev'ry Little Star". Heck, even with songs like those, the album should be weak – but there's an undeniable magic that really makes it great! Last is Contemporary Alternate Takes – a great collection of alternate takes from Sonny's landmark recordings for Contemporary Records in the late 50s – material recorded in LA with an easier-swinging groove than some of his New York work, in a style that let Sonny blow in round, warm, and really open tones – almost foreseeing his work for RCA in the mid 60s. Players include Ray Brown, Shelly Manne, Victor Feldman, and Barney Kessel – and the set features alternate takes of "I'm An Old Cowhand", "Come Gone", "Way Out West", "The Song Is You", and "You". CD

A great lost chapter in the career of Sonny Rollins – material recorded live at MOMA in 1965, but unissued until this brief package in the late 70s! The work is right up there with Rollins' best for RCA at the time, and almost feels a bit like his live Village Vanguard material from Blue Note – freewheeling, open, and with that continuously creative style that marks his solo talents at their best! The group's a quartet – with Tommy Flanagan on piano, Bob Cranshaw on bass, and either Billy Higgins or Mickey Roker on drums – and tracks are longish, and have that arch mix of modern and traditional modes that we always appreciate in Rollins. Titles include "On Green Dolphin Street", "To A Wild Rose", "Three Little Words", and "There Will Never Be Another You". CD