A great early trio session from Ray Bryant – the kind of record that instantly shows why he caught such fire on the scene! There's a simplicity here that's almost invisible – a command of the keys that's strong, but not nearly as show-offy as some of Bryant's contemporaries. And given that Ray always managed to kick up a groove on the left side of the keyboard with his firm approach to rhythm, he's definitely a group player in the trio on the set – an excellent combo that features the wonderful Ike Issacs on bass and Specs Wright on drums. Titles include "Splittin", "Golden Earrings", "Sonar", "Blues Changes", and "Daahoud". CD

Some of the rarest work ever recorded by guitarist Kenny Burrell – his early 60s instrumental sides for Columbia Records! Kenny only really cut 2 LPs for Columbia at the time – the instrumental album Blusin Around, and the stranger set Weaver Of Dreams, which actually features Kenny on vocals (one of his few albums of the sort.) The set here resurrects Kenny's Columbia work as a musician – by compiling tracks from the Blusin Around album, plus 9 more titles that have never been issued before, but were recorded at the time! Kenny's playing here in nicely laidback settings – small groups that include players like Hank Jones, Illinois Jacquet, Eddie Bert, Jack McDuff, and Leo Wright – a total of 18 tracks in all that represent a strong body of lost work. Titles include "The Switch", "Mambo Twist", "One Mint Julep", "Funk Junction", "Getting In The Groove", "Bluesin Around", "How Could You", and "Opus 21". CD

With Gerald Clayton on piano and Rhodes, Antonio Hart on flute, and Christian McBride on bass – plus special guests Clark Terry on trumpet, Lizz Wright on vocals, and Herbie Hancock as the "voice of Duke Ellington"! CD

A mighty nice early album from Jimmy Cliff – a set that's maybe not as well-known as his massive hits of the 70s, but which definitely sets the tone for all the greatness to come! Jimmy's voice already has this raw, righteous power that's incredible – trained in the soul of the rocksteady generation, but given all these nice lean production touches that were handled by Cliff himself – clearly already really getting his ears around the best aspects of the forces available at Dynamic Studios! There's some key ringers in the set – including Winston Wright on organ and Tommy McCook on tenor – and The Heptones provide some mighty nice backing vocals too. The whole thing has a much rawer sound than you might guess for a record on a major label – and titles include "Black Queen", "Be True", "Oh Jamaica", "Commercialization", "The Price Of Peace", "Poor Slave", and "Rip Off". CD

A wonderful session of soul jazz – and totally obscure! The album's one of a rare few cut by organist Gloria Coleman – an obscure east coast player who was also the wife of tenorist George Coleman, and who follows wonderfully in a strong tradition of female organists that includes Trudy Pitts and Shirley Scott. Even hipper is the fact that Gloria's quartet has a female drummer – the firey Pola Roberts, who's got a light touch on the kit that makes the cuts dance nicely. And even still hipper is the fact that that group is completed by Grant Green on guitar and Leo Wright on alto – both of whom groove in a totally tight soul jazz mode that resembles their best work from the early 60s. The session's a wonderful burner, of the sort that you'd proudly display in a collection of 60s soul jazz – and it's filled with excellent original cuts like "Quee Baby", "Hey Sonny Red", "Melba's Minor", and "Funky Bob". CD

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

A mighty helping of music from the overlooked Mitty Collier – a 60s soul singer on Chess Records, and one who was every bit as great as bigger label stars like Etta James or Fontella Bass! Like both of those singers, Mitty's got a voice that grabs you right from the get-go – a deeply soulful approach to her music that's really fresh and without cliche – especially considering she got her start belting out tunes years before some of the bigger names in 60s female soul, and managed to keep things mighty real all the years she was working at Chess. Production and arrangements here are all top shelf – handled by Phil Wright, Riley Hampton, and others – and the CD offers up 24 gems from Mitty's years at Chess – the a-sides of all 15 singles cut for the label, plus 9 more great tunes from the flips! Titles include "Everybody Makes A Mistake Sometimes", "Gotta Get Away From It All", "I've Got Love", "I Had A Talk With My Man", "Walk Away", "My Party", "Sharing You", "That'll Be Good Enough For Me", "Git Out", "Watching & Waiting", "Like Only Yesterday", "No Faith No Love", "I'm Your Part Time Love", and "Miss Loneliness". CD

A nice collaboration between Miles and Marcus Miller from the latter part of Miles career. As much of the recording here is overdubbed, with many multiple instruments played by Miller, it doesn't have the improvised vibe of Miles' classic performances, but the songwriting and arrangements are head and shoulders above much of the contemporary jazz being recorded at the time, Miles is in great form, and the glossy production sits better with us now than ever before. Paulinho DaCosta, George Duke, Michael Urbaniak and Bernard Wright all make guest appearances. 8 tracks in all: "Tutu", "Tomaas", "Portia", "Splatch", "Backyard Ritual", "Perfect Way", Don't Lose Your Mind" and "Full Nelson". CD

The team of Paul Desmond and Jim Hall was one of the best ideas ever forged in American jazz of the 60s – and the icy pair are perfect company together on this album of bossa-inflected tracks with a very cool edge! The album allows Desmond's alto to take on a warmth and flowing quality it never had in the Dave Brubeck group – and Hall's guitar work, while a masterpiece of understatement, brings in just the right amount of ringing tone to echo out the brilliance of Desmond's ideas. Gene Wright and Connie Kay complete the group, and titles include "O Gato", "Samba Cantina", "Girl From East 9th", "Ship Without A Sail", and "Bossa Antigua". Plus, this excellent CD reissue features 2 bonus tracks – the groovy "Samba Cepeda" and an alternate take of "O Gato". CD

That's "Take Ten", not "Take Five" – a great title cut that echoes Paul Desmond's previous work with Dave Brubeck – but which then gives way quickly to some sweet bossa-styled grooves done with guitar from Jim Hall! The album's one of the strongest of the Hall/Desmond collaborations for RCA – A sublime showcase not just for Paul's impeccable alto, but also for the amazing tones and chromes that fly freely from the strings of Jim's guitar! Both players are set up with just a bit of gentle backing – light percussion from Connie Kay, and a bit of bass from Gene Cherico or Gene Wright. The whole thing's a well-conceived study in economy, as the two players craft sly and subtle lines around spare drum and bass backings – slowly hanging sound in space to weave a rich web of sound that's as compelling as it seems to be effortless! Titles include "Take Ten", "El Prince", "Embarcadero", "Samba De Orfeu", "Theme From Black Orpheus", and "Alone Together". CD

That's "Take Ten", not "Take Five" – a great title cut that echoes Paul Desmond's previous work with Dave Brubeck – but which then gives way quickly to some sweet bossa-styled grooves done with guitar from Jim Hall! The album's one of the strongest of the Hall/Desmond collaborations for RCA – A sublime showcase not just for Paul's impeccable alto, but also for the amazing tones and chromes that fly freely from the strings of Jim's guitar! Both players are set up with just a bit of gentle backing – light percussion from Connie Kay, and a bit of bass from Gene Cherico or Gene Wright. The whole thing's a well-conceived study in economy, as the two players craft sly and subtle lines around spare drum and bass backings – slowly hanging sound in space to weave a rich web of sound that's as compelling as it seems to be effortless! Titles include "Take Ten", "El Prince", "Embarcadero", "Samba De Orfeu", "Theme From Black Orpheus", and "Alone Together". CD also features alternate takes of "Embarcadero" and "El Prince". CD

That's "Take Ten", not "Take Five" – a great title cut that echoes Paul Desmond's previous work with Dave Brubeck – but which then gives way quickly to some sweet bossa-styled grooves done with guitar from Jim Hall! The album's one of the strongest of the Hall/Desmond collaborations for RCA – A sublime showcase not just for Paul's impeccable alto, but also for the amazing tones and chromes that fly freely from the strings of Jim's guitar! Both players are set up with just a bit of gentle backing – light percussion from Connie Kay, and a bit of bass from Gene Cherico or Gene Wright. The whole thing's a well-conceived study in economy, as the two players craft sly and subtle lines around spare drum and bass backings – slowly hanging sound in space to weave a rich web of sound that's as compelling as it seems to be effortless! Titles include "Take Ten", "El Prince", "Embarcadero", "Samba De Orfeu", "Theme From Black Orpheus", and "Alone Together". Plus, the CD reissue features 3 bonus tracks – "Out Of Nowhere", and alternate takes of "El Prince" and "Embarcadero". CD

A trio of albums from this famous Brazilian trombonist – all of them great! First up is Sweet Lucy – a wonderful album from Raul De Souza, cut during the height of his fame on the California scene! Like Raul's other work for Capitol, this record really sparkles from tight help from George Duke – who handles production, and some of the arrangements – and really helps De Souza find a tight jazzy groove! The instrumentation is a bit leaner than some of Raul's other records of this nature, which is a nice thing – as you get to hear plenty of keyboards from Patrice Rushen, Fender Rhodes from Dawilli Gonga, trumpet from Freddie Hubbard, and percussion from Airto. There's a bit of chorus vocals at times, but the main focus is on Raul's trombone solos – and cuts include of Joao Donato's "Banana Tree", plus "Sweet Lucy", "New Love", "Wild & Shy", "Bottom Heat", "Wires", and "At Will". Don't Ask My Neighbors is a tremendous moment for trombonist Raul De Souza – working here in a style that's light years past his roots in bossa nova! The set's got a heavy California vibe – a late 70s blend of jazz and soul handled by producer George Duke, who also arranges many tracks on the record – but still leaves plenty of room for Raul to step out strongly in the lead! Things are never too overdone, and handled with that sunny style that players like Duke did so well – lots of warm jazzy elements in the backings, coming from Fender Rhodes by Bobby Lyle, percussion from Airto, and drums from the great Harvey Mason – who really brings an edge to some of the groovers. Titles include a killer cover of the Skip Scarborough tune "Don't Ask My Neighbors" – plus "La La Song", "Overture", "At The Concert", "I Believe You", and "Jump Street". Til Tomorrow Comes is filled with soaring sounds from Raul De Souza – a Brazilian musician who first recorded under the name of Raulzinho during the bossa nova years – but one who's at the height of his powers here working on the Cali scene at the end of the 70s! Raul manages to blend his lead instrument with fuller arrangements from Arthur Wright – who brings in plenty of the best elements from contemporary R&B, adds in some backing vocals, yet never diminishes Raul's presence on the record at all! Instead, De Souza seems to draw all sorts of energy from the folks around him on the sessions for the record – really stepping out with the best sort of jazz funk grooves that Capitol Records were laying down at the time – as you'll hear on cuts that include "Up & At It", "Self Sealing", "Pleasurize", "Fe No Me Nol", and "Til Tomorrow comes". CD features bonus tracks – single versions of "Til Tomorrow Comes", "Sweet Lucy", and "Daisy Mae". CD

Amazing stuff from No Wave legends DNA – 32 tracks from long out of print singles, EPs and live recordings – many on CD for the first time ever! DNA was one of the most uproarious acts in that increasingly legendary NYC scene – featuring Arto Lindsay's scratchy guitar and haggard banshee wail of a lead vocal presence, those primitive Bowery funk keyboards by Robin Krutchfield, and thumping, metronomic bass and drums by Tim Wright and Ikue Mori. The band's songs rarely marched past the 2 1/2 minute mark or so, getting in-and-out for a quick catharsis. These tracks trace the range of the under-recorded group perfectly, from the raw punk squall of the early singles to the funkier, sinister post disco sound later on. Amazing, awe inspiring stuff from a scene that keeps on belching greatness! Great notes and photos, here too! Includes "You & You", "Egomaniac's Kiss", "Not Moving", "Size", "New Fast", "New New", "Young Teenagers Talk Sex", "Police Chase", "Cop Buys A Donut", "Nearing", "Low", "Brand New", "Horse", "Forgery", "A New Low" and tons more! CD

Progressive piano from a young Kenny Drew – already swinging here with a sound that's unlike anybody else at the time! The album follows nicely from Drew's early work for Blue Note – and like those sides, the groove here is a mix of creatively compelling solo lines, and a slight soulful undercurrent in the rhythms – kind of a blend of bop inspiration and some of the more creative 50s piano modes, all wrapped together with just a hint of the generation of players to come. The group features Eugene Wright on bass and Charles Wright on drums – and titles include "Angie", "Bluesville", "Four & Five", "Lo Flame", "Chartreuse", "Kenny's Blues", "Many Miles Away", and "My Beautiful Lady". CD

The best collection we've ever seen of the work of funky soul legends Dyke & The Blazers – a double-length set that features full, unedited versions of their classics – plus a whopping batch of previously unreleased tunes! Dyke & The Blazers had a groove that was mighty solid back in the late 60s – a hard-vamping, tightly rhythmic groove that easily matched the best early funk of the time from Charles Wright, Sly Stone, or James Brown – and which was often served up with a rougher edge, and an overall sound that was a lot more dangerous! However, many of the group's singles really trimmed down their performances – shaving off key instrumental moments that are lovingly re-attached here, and combining them with some even rarer tracks that never saw the light of day back in the 60s. The whole thing's amazing – and the 2CD set features a whopping 33 tracks in all, split into one disc of material recorded in Phoenix, and one more of tracks from Hollywood! Titles include "Black Boy", "Stuff", "Moon", "Booga Jivin", "Runaway People", "Funky Broadway Time (parts 1 & 2)", "Swamp Walk", "Extra Funk", "Let A Woman Be A Woman Let A Man Be A Man", "Soul Cake", "She Knows It", "Let's Do It Together", "Bring It On Back", "Funky Walk (parts 1 & 2)", and "Triple Funk". CD

Righteous soul from late 60s Chicago – a killer collection of early singles from the great Darrow Fletcher – only a youngster at the time, but already working at a level that's as strong as most of his older contemporaries! Darrow's got this soaring voice that really sends us every time we hear him sing – a style that's possibly a bit like Jackie Wilson, but both deeper and lighter at the same time – very unique, especially in these early years – and perfect for helping Fletcher stand out from the pack! The grooves here are nice and deep – socking hard in the best Chi-town styles of the time, with the sort of punch you'd get on the best One-Der-Ful/Mar-V-Lus recordings – with arrangements by Mike Terry, Phil Wright, Tom Tom, and others. Tracks were originally issued on a variety of labels – Groovy, Jacklyn, Uni, Congress, and Genna – and titles include "The Pain Gets A Little Deeper", "Now Is The Time For Love (parts 1 & 2)", "What Have I Got Now", "What Is This", "Gotta Draw The Line", "My Young Misery", "Infatuation", "When Love Calls", "My Judgement Day", "Sitting There That Night", "Changing By The Minute", "What Good Am I Without You", "We Can't Go On This Way", and "That Certain Little Something". CD

The only full length album cut by singer Taana Gardner – quite a surprise, given how much impact she had on the clubs with her 12" singles at the start of the 80s! The album's got Gardner as a much richer singer than you might expect – able to lay back on a mellow track as well as step out on a groover – always with that higher range of vocals that really made her a standout at the time, but in ways that are never gimmicky or poppy at all. And in fact, there's a lot more depth to the record than you'd guess from the dated exercise cover image – a classic soul approach that's also quite a surprise for the mostly disco West End label too. Tracks are all nice and long – and backings are by Sunship, with Bernard Wright on Fender Rhodes. Titles include "Work That Body", "We Got To Work It Out", "When You Touch Me", "Paradise Express", and "Just Be A Friend". CD features the previously unreleased "That's The Word (12" club)", plus "Heartbeat (12" club)", "Heartbeat (12" party)", "No Frills (12" club)", and "No Frills (12" party)". CD

A great package – one that features the self-titled Taana Gardner album from the legendary New York club act on West End Records – plus lots of bonus material too! The core record is the only full length album cut by singer Taana Gardner – quite a surprise, given how much impact she had on the clubs with her 12" singles at the start of the 80s! The album's got Gardner as a much richer singer than you might expect – able to lay back on a mellow track as well as step out on a groover – always with that higher range of vocals that really made her a standout at the time, but in ways that are never gimmicky or poppy at all. And in fact, there's a lot more depth to the record than you'd guess from the dated exercise cover image – a classic soul approach that's also quite a surprise for the mostly disco West End label too. Tracks are all nice and long – and backings are by Sunship, with Bernard Wright on Fender Rhodes. Titles include "Work That Body", "We Got To Work It Out", "When You Touch Me", "Paradise Express", and "Just Be A Friend". 2CD set features lots of bonus material – Kenton Nix extended mixes of "When You Touch Me", "Just Be A Friend", and "Work That Body" – plus two key non-LP singles, "That's The World (12" club)" and "Heartbeat (12" club) – and lots of later mixes that include "No Frills (Larry Levan mix)", "I'm Comin (radio mix)", "Work That Body (MAW re-edit)", "When You Touch Me (MAW re-edit)", "Work That Body (wing it for the A-Man Tom Moulton edit)", and "Paradise Express (Gomi's tribute vocal)". CD

While actually not as electrifying as some of Dizzy's other albums from the time, this one's still pretty darn great, and features his great group with Leo Wright on alto and Lalo Schfrin on piano. The band grooves with a subtly Latinish vibe, and the tracks are nice and long long long. Titles include "Kush", one of Dizzy's best Latin numbers, plus "The Mooch" and "Night In Tunisia". The CD also includes an interview with Dizzy by Charles Schwartz. CD

Rare work from one of our favorite Dizzy Gillespie groups ever – the quintet that featured Lalo Schifrin on piano and Leo Wright on alto and flute! The combo was easily one of Dizzy's most compelling of the postwar years, and really helped break him into a whole new groove rhythmically – thanks to Schifrin's key influence on rhythms – working here with bass from Bob Cunningham and drums from Mel Lewis. Yet the group only cut a handful of records together, which makes this well-recorded live date a key addition to their catalog – a set you'll proudly stack next to your early 60s Philips recordings from Diz. Titles include "Con Alma", "Willow Weep For Me", "The Mooche", "Kush", "I Can't Get Started", and "Oops Shoo Be Doo Be". CD

A lost bossa jazz classic from Dizzy Gillespie – recorded at a time when Lalo Schifrin was working in his combo! The record's got a cool, laidback kind of groove – one that's miles away from Gillespie's earlier bop work, and which shows him opening up his rhythmic conception strongly in the 60s. Rhythms are percolated by the piano of Schifrin, guitar of Bola Sete, bass of Chris White, and some well-chosen added percussion work – and the overall groove is one of the best American takes on the bossa jazz sound of the time, delivered with wonderful horn work from Dizzy on trumpet, Leo Wright on flute and alto, and Charlie Ventura on tenor! Even familiar tunes are transformed by the sound – and titles include "In A Shanty In Old Shanty Town", "Careless Love", "Taboo", "One Note Samba", "Pergunte Ao Joao", and "Chega de Saudade". CD

Features Lalo Schifrin on piano, Leo Wright on alto and flute, and two tracks with Candido. CD

Three later live sets from Dizzy Gillespie – all in a single package! Sesjun Radio Shows 1 is great, and if you like Dizzy Gillespie as much as us, you'll know that he kept on getting better and better as the years went on – continuing to evolve as a musician, into territory that's always very different than what he was giving the world a few years before! That's definitely the case here, on two live performances done for Dutch Radio in the late 70s – both of which feature a guitar as the key partner – with Rodney Jones on the first half, Ed Cherry on the second, and bass from Benjamin Brown and drums from the great Mickey Roker. Tracks are long, and open up in this really wonderful way – and the group is joined by percussionist Sheyvonne Wright on the second half, who also sings a bit too. There's a quality here that's much more in the best 70s work on the Muse label than you might expect – and titles include "Barcelona", "Diddy Wah Diddy", "Toccata", "The Truth", "Night In Tunisia", "Manha De Carnaval", and Round Midnight". Sesjun Radio Shows 2 is further proof that the genius of Dizzy Gillespie knows no bounds, even in later years – as these two different radio performances feature Diz with very unique saxophonists – both of whom really transform the sound of the group! The first half of the set has Gillespie on trumpet with a young Paquito D'Rivera on soprano and alto sax – a young player really coming into his own here, in an unusual group that also features Canadian guitarist Ed Cherry, bassist Michael Howell, and drummer Ignacio Berroa – on titles that include the funky "Unicorn", plus "All The Things You Are" and "Cripple Crapple Crutch". The second half will be even more surprising to fans of avant jazz – as the legendary Sam Rivers joins the group on tenor and soprano sax – blowing straighter than on his free improv records, but definitely adding an edge! The rest of the group features Cherry and Berroa, with John Lee in on bass for Howell – and titles include "Tanga", "Manteca", and "Birk's Works". Concert Of The Century is a record with a title that's a hell of a claim to make – but it's also a hell of a concert, too – one that features Dizzy Gillespie blowing with an all-star small group lineup – in really stretched-out takes on the tunes, at a level that rivals his best 70s material on the Pablo label! In addition to Gillespie on trumpet, players also include Milt Jackson on vibes, James Moody on tenor and flute, Hank Jones on piano, Ray Brown on bass, and Philly Joe Jones on drums – all working together as seamlessly as you'd expect! Titles include "Darben The Redd Foxx", "The Shadow Of Your Smile", "Get Happy", "Blues N Boogie", "If I Should Lose You", and "Bass Solo/Manha De Carnaval/Work Song". CD

An amazing album produced and arranged by legendary Philly mastermind Larry Gold – the cello player/writer/arranger for MFSB – and a key player in the best Philly soul of the last several decades! Don Cello & Friends features Gold as Don Cello – and the friends include Black Thought of the Roots, McFadden & Whitehead, Carol Riddick, Gerald Levert, Kindred The Family Soul, Jaguar Wright, Bunny Sigler and others. The goal for the set was not only to celebrate the depth and rich history of Philly soul with a variety of vocalists, but to draw a direct parallel with the best of today's scene. It succeeds at both masterfully. Gold's production and arranging is lush and sparkling – and the vocalists bring the very best of their games. Black Thought's rhymes on the lead off remake of "No Stoppin'", with McFadden & Whitehead, sets the stage perfectly – think the Roots on Curtom, and that's about half the picture! Much of the album carries more of a classic soul sheen – smooth and sparkling, with just enough grit for a nice edge! In the liner notes, Gold explains that he loves songs from "Gamble, Huff to Timbaland" – and this album is the perfect sonic encapsulation of that aesthetic! Possibly the best album yet with the relatively fledgling Beat Generation imprint – and a great signpost for the future of underground soul! 12 tracks including "Loving You" with Carol Riddick, "Dance" with Gerald Levert, "And I Hope" featuring Floetry, "Travelin'" with Kameelah Waheed, ""All That You Are" featuring Kindred, "Nothin'" with Jaguar Wright, "Just A Dream" with Erro, "Everybody" with Cristal Oliver, "Can I" with Bunny Sigler, and Larry Gold's "Outro". CD

A really unique little album – a righteous blend of funky jazz, vocal chorus, and soulful leads – recorded in the German scene of the early 70s! The group features a number of key players from the MPS side of the funky jazz spectrum – and the record feels like some of the best high-concept projects from that legendary label – particularly those with a strong message in the music! Mladen Bobby Gutesha arranges and conducts – and the group features Leo Wright on alto and flute, Sigi Schwab on guitar, Ingfried Hoffmann on organ, Jiggs Whigham on trombone, and Milo Pavlovic on trumpet – creating these great core grooves, which are then topped by a vocal chorus singing messages in freedom in a number of different languages! Jimmy Woode sings lead vocals on a few tracks – and titles include "Angelitos Negros", "Soldat", "Masters Of War", "I Have A Dream", and "Schtil Di Nacht Is Ojssgeschternt". CD

The second set of jazzy jam tracks from Roy Hargrove's RH Factor – following very nicely on the style of the first! Hargrove's funky trumpet is very firmly in the lead of the set – pushing the group through a sound that's tightly percussive at the bottom, but which also has a lot of complicated horn parts on the top. There's traces of New Orleans, Afro Funk, and New York grooves in the set – but the overall approach is also pretty laidback, open, and personal to the group. We really love the mellow grooving soul of the title cut "Strength" – which features lead vocals by Renee Neufville and piano by the great Bernard Wright – and other tracks include a remake of "Listen Here", plus "Rich Man's Welfare" and "Bop Drop". Also includes a bonus "Bigga Than You Know It Is" mix of "Universe", and a "Soulfest Vocal Remix of "For Fun", featuring Omar! CD

Definitely a soulful tapestry here – as the trio of Edna Wright, Shellie Clark, and Carolyn Willis are at the height of their 70s powers – soaring forth in a massive trio mode, and one that really rewrites the sound of girl group soul for the 70s! There's a bouncy, upbeat groove to the record – kind of a pre-disco approach, but one that's still strongly rooted in the best Detroit soul mode of the Holland-Dozier-Holland team too – balanced with just the right sort of force that makes the trio sound great, and all without any of the cliches that this sort of group might hit a few years later! Titles include the Honey Cone classics "One Monkey Don't Stop No Show (parts 1 & 2)" and "Want Ads", plus the tracks "VIP", "The Day I Found Myself", "Stick Up", "Don't Count Your Chickens", "All the Kings Horses", and "How Does It Feel". CD features the bonus track "We Belong Together (single version)". CD

Antonio Carlos Jobim's classic Verve session from 1963 – a tremendous record, done with a wonderful airy sound that became the trademark for bossa production in America – and which also had a great inspiration on the sound of mid 60s bossa in Brazil! Claus Ogerman arranged and conducts the orchestra, and Jobim plays guitar and piano – with a core group that also features Jimmy Cleveland on trombone and Leo Wright on flute, both American jazz players who help add some further complexities to the sound. Tracks include "Jazz Samba", "Favela", "O Morro", "Aqua De Beber", "Girl From Ipanema", and "Chega De Saudade". Packaged here in a beautiful two-tone Elenco cover – with a really classic look, and a different appearance than the Verve cover! CD

Soulful blues and bluesy soul – a sweet split CD of work from Al King and Arthur Adams – both singers originally from the south, but relocated to the California scene for the best recordings of their career! Al King's got a great vocal approach – not really blues, and more in the soulful style that certain 60s singers were taking as a new approach to the genre – somewhere in the territory of Bobby Blue Bland, but without Bobby's trademark rasp. The cuts here all feature laidback backings and a mellow groove that really lets King inflect the notes wonderfully – and titles include "Without A Warning", "Get Lost", "Maybe My Last Song", "My Name Is Misery", and "Better To Be Yourself". Arthur Adams is a name you're bound to recognize from countless 70s sessions – with singers, on soundtracks, and even with jazz artists like The Crusaders – but the cuts here represent Art at the earliest point in his career – fresh on the LA scene from Texas, singing and playing guitar with plenty of soulful southern modes! Tracks here feature both Adams on his own, and dueting with either Edna Wright or Mary Love – on titles that include "She Drives Me Out Of My Mind", "I'm Lonely For You", "I Need You", "Is That You", "Let's Get Together", and "Gimme Some Of Your Lovin". CD

The heavy conga image on the front cover will give you plenty of hints at the sound inside – a percussion-driven record served up by the mighty King Sporty – who works here with plenty of TK Records Miami funk in the mix! George Perry co-produced the record with Sporty, and the whole thing's at the hipper side of the TK spectrum and done with a very cool backing combo that features Harold McKinney (of Tribe Records fame) on percussion and flute, and the great Timmy Thomas on keyboards! Thomas also sings a bit on the set, and the record's got a backing female group too – which includes Betty Wright – and the whole thing is a soulful funky disco jam, with cuts that include "Mr Rhythm", "Good Loving", "Shake It Shake It", and "Let's Go To The Party". CD

Not just a flute session from Yusef Lateef – as the set's a record with plenty of saxophone as well as the instrument named in the title! Yusef's mixing his bag nicely for this mid 60s classic – working through tunes that are a mixture of soulful hardbop and eastern exoticism – a shift that's marked by Lateef's changing reed work on tenor, flute, and oboe! The group's a hip quartet with players from Lateef's Detroit scene – the always-great Hugh Lawson on piano, plus Herman Wright on bass, and a young Roy Brooks on drums – all working with Lateef in a sound that almost points the way towards some of the innovations in 70s soul jazz, and which has surprisingly righteous touches that you wouldn't expect from such a simple package! Titles include Brooks' excellent groover "The Smart Set", plus "Oasis", "Road Runner", "The Golden Flute", and "Head Hunters". CD

Philly soul classics from The Manhattans – the mid 70s self-titled gem and After Midnight from the dawn of the 80s! The Manhattans album is one of their best of the 70s, and a record that showed that they were firmly out of the indie ghetto, and totally on top of their game! The record features arrangements and production by Bobby Martin and Bert DeCoteaux – bubbling along in that soaring style that you'd recognize best from Philly International albums of the time, but which also has some nice traces of the mellower ballad work that first put the group on the map. Every tune is perfect – the kind of sublime soul that easily explains why a record like this could be found in every single record collection of every single soul listener of the time – and titles include "La La La Wish Upon A Star", "We'll Have Forever To Love", "Take It Or Leave It", "Reasons", "Wonderful World Of Love", "Searching For Love", and the incredible "Kiss & Say Goodbye". Several bonus tracks, too! After Midnight is stellar Manhattans from the start of the 80s – and proof that the group could still hold strong, even at a point when soul music was really changing up around them! The sound is somewhat smoother than before, but never in a throwaway style – and as you might guess from the title, the record's a mostly-mellow affair that really hones in on the great ballad style that the group had perfected during their time at Columbia! The vocals are superb – not nearly as fragile as in the early days, but really still filled with a great sense of warmth and humanity – the group really maturing into a special space of their own. Arrangements are by James Mack, Benjamin Wright, Bert DeCoteux, and others – and titles include the hit "Shining Star", plus "It's Not The Same", "Just As Long As I Have You", "If My Heart Could Speak", "One Life To Life", "The Closer You Are", and "Girl Of My Dream". CD

Two unusual Herbie Mann albums – back to back in a single set! The first Reggae album has a surprisingly strong mix of 70s modes – as the funky flute of Herbie Mann takes on some of the nascent reggae grooves of the time – with results that are a lot nicer than you might expect! There's some core rhythms on the record from Tommy McCook, but Herbie's regular keyboardist Pat Rebillot also adds in some surprisingly nice lines too – making the whole thing way more than just another session cut down in Kingston. One real surprise is a very extended take on "My Girl", which runs for over 18 minutes and takes up all of side two – and other cuts include "Rivers Of Babylon", "Swinging Shepherd Blues", and "Ob La Di". Reggae II is a lesser-known follow-up to Herbie Mann's first album of reggae-styled instrumental grooves – and one that's every bit as sweet as the first! Like that record, the approach here is one that has Mann working with Kingston-bred rhythms from a lineup that includes Winston Wright on organ, Jackie Jackson bass, and Michael Richard on drums – mixed with tenor from Tommy McCook and trumpet from Bobby Ellis – then given a slight fusion vibe from Mann's frequent 70s musical partner Pat Rebillot on a variety of keyboards! Herbie's flute snakes into the groove in this warm, easygoing way – very open in tone, and a surprisingly good fit for an instrument that isn't often used in such a setting. Titles include "Down On The Corner", "Cecilia", "I Know", "Stoned By You", "Bend Down Low", and "So Get It While You Can". CD

A landmark album from the Miami soul scene of the 70s – the record that put Gwen McCrae on the map, and showed to the world that the TK sound was about to dominate the charts! There's a really unique groove to the set – part older southern soul, part percolated electric modes – that funky groove that Little Beaver, Timmy Thomas, and some of Gwen's TK contemporaries had been cooking up at the time. Both Beaver and Thomas are working on the sessions – as are Willie Clark, Latimore, and George Perry – and even the backup vocals are hip – with help from George McCrae, Betty Wright, and KC of Sunshine Band fame. But throughout it all, Gwen's the real star – singing with an impeccable vocal approach that's full of soul, yet never overdone – heard to amazing effect on the classic track "90% Of Me" – and other gems that include "For Your Love", "He Keeps Something Groovy Going On", "It Keeps On Raining", "He Don't Ever Lose His Groove", "Move Me Baby", and "Let Them Talk". CD

One of the most obscure records from trumpeter Blue Mitchell – a great session recorded in the 60s, during Blue's classic stretch with Blue Note – but not issued until 1980, and even then, only briefly! The record's a great example of Mitchell's strong capacity to play well in a larger group – this time a sextet, featuring Joe Henderson's tenor and Leo Wright's alto – playing imaginative lyrical lines next to Blue's sweet trumpet, and dancing around with a sound that's as lyrical as it is soulful! Other players include Herbie Hancock on piano, Gene Taylor on bass, and Roy Brooks on drums – and titles include "Mamacita", "Andrea", "Step Lightly", "Sweet & Lovely", and "Bluesville". CD

One of the most obscure records from trumpeter Blue Mitchell – a great session recorded in the 60s, during Blue's classic stretch with Blue Note – but not issued until 1980, and even then, only briefly! The record's a great example of Mitchell's strong capacity to play well in a larger group – this time a sextet, featuring Joe Henderson's tenor and Leo Wright's alto – playing imaginative lyrical lines next to Blue's sweet trumpet, and dancing around with a sound that's as lyrical as it is soulful! Other players include Herbie Hancock on piano, Gene Taylor on bass, and Roy Brooks on drums – and titles include "Mamacita", "Andrea", "Step Lightly", "Sweet & Lovely", and "Bluesville". CD

A lost treasure from the legendary Thelonious Monk – a live date recorded in Paris at the end of the 60s – late in Monk's life, and every bit as wonderful as his famous 60s studio work with his quartet! Of that group, only Charlie Rouse remains on tenor sax – but Rouse is more than enough to make things great, and the interplay between his tenor and Monk's piano is completely sublime – full of angular movements, underscored with plenty of soul – and given support from Nate Hygelund on bass and either Paris Wright or Philly Joe Jones on drums. There's a rough edge to the music that's really great – that sharper, more sinister vibe that Monk could have in a live setting – and titles include "Light Blue", "Bright Mississippi", "I Mean You", "Ruby My Dear", "I Love You Sweetheart Of All My Dreams", "Crepuscule With Nellie", and "Nutty". CD

Trumpeter Farnell Newton has been making music for a number of years – but he really seems to be taking off and finding his groove on recent albums for the Posi-Tone labels – records, like this one, that really have Newton demonstrating his strong ear for phrasing, and his ability to come up with just the right sort of a tune for both his solos and his sidemen! Here, the group features core work from a great quartet – Art Hirihara on piano, Boris Kozlov on bass, and Rudy Royston on drums and percussion – a lineup that features shifting contributions from Jaleel Shaw, Patrick Cornelius, and Braxton Cook on alto saxes – plus Brandon Wright on tenor and Michael Dease on trombone! Just about every tune has an additional horn joining Newton in the lead, and the sense of interplay is what really makes the record special – tight, but very personal solo work from all involved – on titles that include "Affectionately Roy", "Feel The Love", "A Child Not Born", "The Bluest Eyes", "Pale", and "Laws Of Motion". CD

An unusual little turn for the Ohio Players – a record that's almost completely written and totally produced by Richard Dimples Fields – running here at the height of his early 80s fame! The record's still funky enough overall – but in the style of some of Fields' indie work from the 70s – slightly sharp edged, but also moving into some of the more compressed hook territory that mainstream funk acts were hitting in the early 80s. The best Fields cuts are actually the more laidback ones, which have some southern soul influences – but the real standout here is actually a remake of Charles Wright's "Do Your Thing", which comes off with all the rough vocals and funky rhythms of the original! Other tracks include "I'd Better Take A Coffee Break", "Devoted", "My Baby Gets The Best Of My Love", "Just Me", "Sweet Lil Lady", and "Star Of The Party". CD

An unusual little turn for the Ohio Players – a record that's almost completely written and totally produced by Richard Dimples Fields – running here at the height of his early 80s fame! The record's still funky enough overall – but in the style of some of Fields' indie work from the 70s – slightly sharp edged, but also moving into some of the more compressed hook territory that mainstream funk acts were hitting in the early 80s. The best Fields cuts are actually the more laidback ones, which have some southern soul influences – but the real standout here is actually a remake of Charles Wright's "Do Your Thing", which comes off with all the rough vocals and funky rhythms of the original! Other tracks include "I'd Better Take A Coffee Break", "Devoted", "My Baby Gets The Best Of My Love", "Just Me", "Sweet Lil Lady", and "Star Of The Party". CD

An unusual little turn for the Ohio Players – a record that's almost completely written and totally produced by Richard Dimples Fields – running here at the height of his early 80s fame! The record's still funky enough overall – but in the style of some of Fields' indie work from the 70s – slightly sharp edged, but also moving into some of the more compressed hook territory that mainstream funk acts were hitting in the early 80s. The best Fields cuts are actually the more laidback ones, which have some southern soul influences – but the real standout here is actually a remake of Charles Wright's "Do Your Thing", which comes off with all the rough vocals and funky rhythms of the original! Other tracks include "I'd Better Take A Coffee Break", "Devoted", "My Baby Gets The Best Of My Love", "Just Me", "Sweet Lil Lady", and "Star Of The Party". 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

Not the orchestral session you might guess from the group's name, but a really righteous batch of work from Hannibal Marvin Peterson – one that really blows away most of his American and European recordings of the 70s! The set's got a really spiritual feel – definitely soaking in the Light promised in its title, with a quality that has the music building up as the album goes on – starting with dawn-like energy, which then really burns in the full light of the sun – and continues to blossom strongly over the course of the tremendous album. Other players include Michael Cochrane on piano, Deidre Murray on cello, Cecil McBee on bass, and David Lee on drums and percussion – and other tracks feature a bit of additional percussion, a touch of voice from Marcella Allen, and bass clarinet from Frank Wright. Titles include "To Find The Path", "From Blindness Traveling", "For Strength & Wisdom Enough", and "To Search The Inner World". CD

A killer blend of soulful elements – the guitar of Jamaican legend Ernest Ranglin and the warmly grooving sound of the Miami scene – served up here with some mighty nice help from King Sporty in the studio! Despite the date of the recording, there's a vibe here that's a lot more like some of the best TK Records material of the late 70s – with Ranglin's guitar filling in a spot that might have been used by Little Beaver – in some great arrangements that are filled with other TK luminaries like Betty Wright and Timmy Thomas! The whole thing's great – solos from Ranglin on guitar, plus a bit of supporting vocal choruses – on titles that include "In The Rain", "Soft Touch", "Keep On Dancing", "Papa Doo", "Why Not", and "Be What You Want To Be". CD

Freddie Roach always makes a good move on his Blue Note sessions – going for a lean and tight style on the organ that never fails to please! On this set, he's working with a mixed group of hardbop and soul jazz players that includes two Blue Note heavyweights – Blue Mitchell on trumpet and Hank Mobley on tenor – key proof that the label really thought a lot of Roach's playing at the time, and a great way to hear Mobley open up with a Hammond – which he doesn't always do! The rest of the group also features Eddie Wright on guitar and Clarence Johnson on drums – all moving with Freddie on some tight tracks that have a triple punch of organ, tenor, and trumpet! Titles include "Wine Wine Wine", "I.Q. Blues", "On Our Way Up", and "Pastel". CD

Freddie Roach always makes a good move on his Blue Note sessions – going for a lean and tight style on the organ that never fails to please! On this set, he's working with a mixed group of hardbop and soul jazz players that includes two Blue Note heavyweights – Blue Mitchell on trumpet and Hank Mobley on tenor – key proof that the label really thought a lot of Roach's playing at the time, and a great way to hear Mobley open up with a Hammond – which he doesn't always do! The rest of the group also features Eddie Wright on guitar and Clarence Johnson on drums – all moving with Freddie on some tight tracks that have a triple punch of organ, tenor, and trumpet! Titles include "Wine Wine Wine", "I.Q. Blues", "On Our Way Up", and "Pastel". CD

Freddie Roach always makes a good move on his Blue Note sessions – going for a lean and tight style on the organ that never fails to please! On this set, he's working with a mixed group of hardbop and soul jazz players that includes two Blue Note heavyweights – Blue Mitchell on trumpet and Hank Mobley on tenor – key proof that the label really thought a lot of Roach's playing at the time, and a great way to hear Mobley open up with a Hammond – which he doesn't always do! The rest of the group also features Eddie Wright on guitar and Clarence Johnson on drums – all moving with Freddie on some tight tracks that have a triple punch of organ, tenor, and trumpet! Titles include "Wine Wine Wine", "I.Q. Blues", "On Our Way Up", and "Pastel". CD

The second volume of rarities, alternate mixes and all around soulful hip hop genius from the one-and-only Roots crew – handpicked by ?uestlove! If you saw the title of the Home Grown sets and wrote them off as a simple "best of" roundup, well, you should have known better! The Roots have made a career out of sidestepping expectation and these sets will puzzle the mainstream as much as their LPs! Volume 2 features more new millenium material – featuring alternate versions of prime album tracks – providing another reminder of the indispensible, wholly unique Roots! Tracks include "Sacrifice" and "The Seed/Melting Pot/Web" (live on Gilles Peterson's Worldwide Show), "No Alibi", "Quicksand Millennium", "Pass The Popcorn (revisited)", "Adrenaline" feat Dice Raw and Beanie Sigel, "The Lesson Pt. 3" feat Dice Raw and Jaguar Wright, "Y'll Know Who", "Thought@Work", "BOOM!", "Din Da Da" and more! CD

Very obscure later work from Jackie Ross – recorded in her years after Chess Records, with a sound that's a lot more mature than before! The style here is a bit like Marlena Shaw in the late 70s – a sophisticated blend of soul, jazz, and a little bit of club – served up with arrangements from Ben Wright and Jimmy Van Leer, the latter of whom produced the record. Jackie works surprisingly well in this setting – with a style that makes us wonder what would have happened had she got a chance at larger exposure at the time – particularly through a label like Philly International, whose sound of the time is clearly an influence here. Titles include "You Got Your Hooks In Me", "Only Time Has Changed", "The World Needs More People Like You", "Will You Love Me Tomorrow", "Can This Be Love", "The People Some People Choose To Love", and "Betcha By Golly Wow". CD

Three great albums in one package! Steam is a later set from Archie Shepp and a real lost gem – quite different from his earlier works, especially the better known late 60s sessions – and a surprisingly nice album that runs through some truly excellent longer takes – filled with warmth and tenderness you wouldn't expect! Steam was recorded in early 1976, in a stripped down setting, with Cameron Brown on bass and Beaver Harris on drums. The group wonderfully rolls through Ellington's "Solitude", Shepp's "Steam", and the epic "A Message From Trane", a tremendous number written by the great Cal Massey – and Shepp plays both tenor and piano on the record. CD reissue includes bonus tracks not on the original album – "Ah Leu Cha" and "52nd Street Theme". Lover Man is an overlooked treasure from his years as a straight jazz musician – a time we come to appreciate more and more as the years go by! The Shepp heard here is one who's still got all the raw tone and bite of the old days, but also finds a way to swing things on a set of familiar standards – so that he's cutting these great raspy lines out of tunes you might already know – but which are taking on a whole new life in the process. The small combo also features Dave Burrell on piano – another player who could go out, but instead here hangs inside, yet uses all the knowledge of his reach to keep things interesting. A few of the tracks feature vocals from Anne Lowman – with Shepp alongside on tenor – and the rest of the group features Herman Wright on bass and Steve McCraven on drums. Titles include "Brand New World/Breaking A New Day", "My Funny Valentine", "Stars Are In Your Eyes", "Lush Life", and "Yesterdays". Something To Live For is a set of standards from Archie Shepp – but one that's done in a much less traditional way than you might expect – that new standard of returning to roots, but doing them differently that Shepp first began in the 70 – and which really colored the rest of his recording career in a really strong way! Shepp plays tenor, but also vocalizes on many tracks – almost more talking than singing at times, with a raspy, almost bluesy style – but not blues at all – an element that's warmed up by the sparkling trumpet and flugelhorn of Eddie Henderson, whose role in the lead is equally as important as Archie! The rest of the group features John Hicks on piano, George Mraz on bass, and Idris Muhammad on drums – all players who make great contributions in more subtle ways – on tunes that include "You're Blase", "California Blues", "My Foolish Heart", "A Flower Is A Lovesome Thing", and "Something To Live For". CD

Titles include "Bridge Over Troubled Water", "El Condor Pasa", "Cecilia", "So Long Frank Lloyd Wright", "Baby Driver", "The Boxer", "The Only Living Boy In New York", "Keep The Customer Satisfied", and "Song For The Asking". CD

Spooky Tooth have grown their hair since the cover of their first album – and they've also grown their sound a bit too – into a brew that's even headier and more powerful than before! The album's still got an undercurrent of soul – and begins with a fantastic drumbreak on the first cut – but these guys are also swirling their basslines, guitars, and keyboards into territory that's unabashedly hard rock – a mode that really has singer Gary Wright opening up with soaring vocals on most of the tracks! The album really represents that full turning of the UK scene from beat group modes into badass territory that's completely unique – a sound that Island Records was perfect to usher in for the group – and the whole thing's got an instant classic sort of vibe, and we've always wondered why it never had a greater place in the rock canon of the period. Titles include "That Was Only Yesterday", "Waiting For The Wind", "Feelin Bad", "Evil Woman", "Lost In My Dream", and "Hangman Hang My Shell On A Tree". CD

Spooky Tooth have grown their hair since the cover of their first album – and they've also grown their sound a bit too – into a brew that's even headier and more powerful than before! The album's still got an undercurrent of soul – and begins with a fantastic drumbreak on the first cut – but these guys are also swirling their basslines, guitars, and keyboards into territory that's unabashedly hard rock – a mode that really has singer Gary Wright opening up with soaring vocals on most of the tracks! The album really represents that full turning of the UK scene from beat group modes into badass territory that's completely unique – a sound that Island Records was perfect to usher in for the group – and the whole thing's got an instant classic sort of vibe, and we've always wondered why it never had a greater place in the rock canon of the period. Titles include "That Was Only Yesterday", "Waiting For The Wind", "Feelin Bad", "Evil Woman", "Lost In My Dream", and "Hangman Hang My Shell On A Tree". CD features 9 more bonus tracks – including "When I Get Home", "Something Got Into Your Life", "Pretty Woman", three initial mixes of album cuts, and BBC versions of "Blues Town", "Feelin Bad", and "I Can't Quit Her". CD

The Stax debut of Angie Stone – a new setting for the singer, and one that really helps her freshen up her groove! Although a contemporary soul diva, Angie's definitely in classic territory here – maybe not the space of Stax from the 60s and 70s, but a rock-solid sound overall, and more than enough to help us renew our faith in her work! The backings are simple, but never too commercial – tightly stepping beats on the bottom that bounce Angie up over the top, but never push her vocals too far. And as before, some of the best moments have an almost-spoken sort of quality – a way of unfolding out a tune that's very real and natural. Guests include Betty Wright and James Ingram, and titles include "Take Everything In", "Sometimes", "Make It Last", "Here We Go Again", "Baby", "My People", "Half A Chance", "Go Back To Your Life", "Wait For Me", "Pop Pop", and "Happy Being Me". CD

A huge disco cash-in moment of the 70s – but a great one too, and a strong illustration of the power that Casablanca Records had in both the clubs and charts at the time! The movie and record were both a bit over-pressed upon release, but they nonetheless stand as a great snapshot of the way that funky soul had taken over the clubs during the disco generation – giving showcase to a whole host of new young artists, and exposing lots of mainstream listeners to soul music at a level they wouldn't have touched a few years before! Donna Summer was one of Casablanca's big acts at the time – and she really dominates the record with her classic rendition of "Last Dance", plus tracks "With Your Love" and a disco remake of "Je T'Aime Moi Non Plus". Both other cuts are strong too – and include "Lovin, Livin, & Givin" by Diana Ross, "Too Hot Ta Trot" by The Commodores, "Disco Queen" by Paul Jabara, "Leatherman's Theme" by Wright Bros Flying Machine, "Floyd's Theme" by Natural Juices, and "Find My Way" by Cameo. CD

Rare early material from one of the hippest singers on 70s Motown – the heavenly Syreeta, best known for her seminal work with Stevie Wonder – heard here in the years before, on a rare single and a huge amount of never-issued tracks! Syreeta first worked for Motown under the name of Rita Wright – but apart from a 1967 single on Gordy, and a handful of compilation tracks in recent years, almost all her work for the label at the time appears here for the first time ever – a massive 18 of the collection's total 24 tracks – offering up a huge look at the early days of this wonderful talent! Even at the start, Syreeta's got a style that's hipper than most – righteous currents that point the way towards the 70s, and set her apart from some of the other female singers on the label – with a vibe that's completely sublime. We're really not sure why these cuts have been hidden for so long – because on any other label, they'd be hit material – especially given that production his handled by giants like Hal Davis, Stevie Wonder, Ashford & Simpson, and the Holland-Dozier-Holland team. One of the coolest sets of female soul you'll buy in a long, long time – with titles that include "Bad Boy", "Ain't I Gonna Win Your Love", "Beware Of A Stranger", "Love Child", "Since You Came Back", "Mind Body & Soul", "May His Love Shine Forever", "Something On My Mind", "That's What He Told Me", "It Don't Mean Nothin To Me", "Give Back The Good Things", "Can You Feel It Babe", "Save The Country", "Hurtin Me", "Love My Lovin Man", and "Where There's A Will There's A Way". CD

One of the most ambitious Cecil Taylor projects of the 80s – a special project performed by a large ensemble at a jazz festival in Poland – an incredible group who really expand the vision in Cecil's music! Make no mistake, Taylor is definitely the leader here – his piano and vocalizations really direct the entire set – but the music brims over with contributions from giants who include Tomasz Stanko and Enrico Rava on trumpets, Conrad Bauer on trombone, Jimmy Lyons on alto, Frank Wright and John Tchicai on tenors, Gunter Hampel on bass clarinet and vibes, and William Parker on bass. The performance features one long piece, but graced with all these really beautiful themes amidst the freer improvisations – coming across with a global vision in jazz that's maybe not unlike some of Charlie Haden's Liberation Music projects, but freer and bolder overall! CD

Over 50 years in jazz, and Toots Thielemans is still one of the most distinctive players around – one of the few who could actually make us like the sound of harmonica in modern music, and an artist who's lent his style to countless great albums over the years! For this set, Toots explores the music of Harold Arlen – set to arrangements by Jurren Haanstra that follow strongly in the mode of some of Thieleman's albums with larger orchestrations from the 70s and 80s – warm and lush, but never too overwhelming. And noteworthy here are a number of vocalists who are sure to push Toots talents into the consciousness of younger audiences who may recognize his sound, but not know the man behind it – singers who include Jamie Cullum, Laura Fygi, Beth Hart, Till Bronner, Oleta Adams, Silje Nergaard, Madeleine Peyroux, and Lizz Wright. Tunes include "Come Rain Or Come Shine", "Ill Wind", "Last Night When We Were Young", "Stormy Weather", "It's Only A Paper Moon", "I Gotta Right To Sing The Blues", and "That Old Black Magic". CD

wicked little record, and one that lives up to its Space Invaders theme right from the start – thanks to a host of sweet electronic touches from Scientist, over a set of killer head-nodding dubs from Roots Radics! The group themselves are in totally top form – massive bass from Flabba Holt and drums from Style and Santa – topped with wicked guitar licks, and some sweet organ lines from Winston Wright – but it's clearly Scientist who's the star of the show, for the way he cooks the elements together and comes up with a sound that more than does justice to the extra-cool cover! Familiar elements are nicely abstracted, and juxtaposed with clever shifts in the studio – all to create massive dubs that include "Beam Down", "Red Shift", "Time Warp", "Cloning Process", "Pulsar", "Laser Attack", "Dematerialize", "Fission", "Super Nova Explosion", and "Quasar". 2CD version features bonus vocal tracks – by Wayne Wade, Wailing Souls, Sammy Dread, Linval Thompson, and Johnny Osbourne! CD

A rare little straight ahead set from Cal – not nearly as Latin as some of his other sides for Fantasy at the time, and done in a gently grooving way that's mighty nice! The group's a quartet (in case you couldn't guess from the title!) – with Gerald Wiggins on piano, Eugene Wright on bass, and Bill Douglass on drums – all swinging along with Cal in a gently soulful mode that offers some great interplay between his vibes and Wiggins' piano. Titles include "A Fifth For Frank", "Miss Wiggins", "A Light Groove", "It Never Entered My Mind", and "Fancy Bea". CD

Ike Turner's plenty great on his own – but this sweet little set features Turner's raw guitar and soulful vocals in the company of a number of other 50s acts – all artists who worked alongside Ike in the underground of the time – and called him into work on their sessions! Given the grit in the grooves, and the personal energy in the music, the overall sound is hardly what you'd expect from the term "session man" – none of the slick 70s modes that might imply for a musician – and instead, a role that's much more that of a raw, rocking collaborator! Titles include "Ho Ho" by Icky Renrut, "Ain't Go No Home" by Starrs, "Peg Leg Woman" by Willie King, "Gypsy Blues" by Matt Cockrell, "I Ain't Drunk" by Lonnie The Cat, "Suffocate" by Johnny Wright, and "The Big Question" by Clayton Love. CD

One of the greatest things about Ken Vandermark – and one of the reasons why we think he's one of our favorite players in the Chicago underground – is the way that he's completely open about his roots and influences, never failing to give credit where credit is due, and let folks know about the music that's inspired him over the years. And although Ken's recorded more than a few tracks by these influences on his own albums in years past, this set goes that one better – by acting as a 2CD set that's almost a "primer" in avant jazz of the late 20th century. There's a great batch of material on the set – works by Ornette Coleman, Anthony Braxton, Lester Bowie, Joe McPhee, Sun Ra, Don Cherry, Frank Wright, Archie Shepp, and others – all recorded live at Chicago's Empty Bottle, by a very well-honed Vandermark 5. Titles include "Saturn", "Goodbye Tom B", "Happy House", "69L", "Wherever Junebugs Go", "King Korn", "The Earth", and "Scootin About". CD

A really sweet late effort from bluesy soul singer and sax player Eddie Cleanhead Vinson – his dawn of the 70s comeback! Cleanhead covered a whole lot of stylistic range in earlier years, from big band vocalist, to R&B shouter, to bebop era alto sax player – and he comfortably displays that range here, albeit in a loose, easygoing soul mode – backed by a great group of session players that includes Joe Pass, Artie Butler, Arthur Wright and Plas Johnson. Bob Thiele produced, and the titles include "Cleanhead Blues", "Pass Out", "Alimony Blues", "Cleanhead Is Back", "Juice Head Baby", "Old Maid Boogie", "One O'Clock Humph" and "I Needs To Be Be'd Wid". This great Ace CD version includes 3 bonus tracks: live versions of "Cleanhead Blues", "I Had A Dream" and "Person To Person". CD

A really sweet late effort from bluesy soul singer and sax player Eddie Cleanhead Vinson – his dawn of the 70s comeback! Cleanhead covered a whole lot of stylistic range in earlier years, from big band vocalist, to R&B shouter, to bebop era alto sax player – and he comfortably displays that range here, albeit in a loose, easygoing soul mode – backed by a great group of session players that includes Joe Pass, Artie Butler, Arthur Wright and Plas Johnson. Bob Thiele produced, and the titles include "Cleanhead Blues", "Pass Out", "Alimony Blues", "Cleanhead Is Back", "Juice Head Baby", "Old Maid Boogie", "One O'Clock Humph" and "I Needs To Be Be'd Wid". This great Ace CD version includes 3 bonus tracks: live versions of "Cleanhead Blues", "I Had A Dream" and "Person To Person". CD

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One of the few albums ever cut as a leader by the legendary bassist Doug Watkins! Although Watkins was one heck of a hardbop bassist in his day, he shows a new side on this enigmatic album from the early 60s – one that has him playing cello as the frontman for a group that includes Yusef Lateef and other Lateef bandmates like Herman Wright, Hugh Lawson, and Lex Humphries. The overall sound of the album mixes soul jazz and Lateef's mystical approach to jazz – with an unusual flute/cello/piano sound that's very nice – and which makes the album one of the most compelling Prestige sides from the time! Tracks include "Soulnik", "Andre's Bag", "Imagination", and "One Guy". CD

Mad mad funk, and the fantastic second LP by the Watts 103rd Street Rhythm Band – the group that proved to everyone that LA could be just as funky as any other city in the 60s! The record draws strongly from the group's indie roots in the funky 45 scene – and the album's filled with short tracks that bump along in jagged rhythms, offbeat arrangements, and some slight touches of sweeter soul. Charles Wright is leading the group on vocals, and taking a stronger presence on these soul-based cuts – but as before, it's the strength of the overall group that really makes the album great – especially the bass work of Melvin Dunlap and the funky drums of James Gadson! Titles include some killer original tracks by the band – like "Do Your Thing", "Giggin' Down 103rd", "Phuncky Bill", "65 Bars & A Taste Of Soul", and "A Dance, A Kiss, & A Song" – plus great covers of "Something You Got", "Papa's Got A Brand New Bag", and "Knock On Wood". CD features 8 more bonus tracks too – including mono single takes on "65 Bars", "Do Your Thing", and "A Dance A Kiss & A Song" – and the previously unreleased tracks "Poverty Stricken Chicken", "Happy Feet", and "You've Lost That Lovin Feelin" – plus "Bottomless" and the long version of "Do Your Thing". CD

Killer funky stoner soul from LA! This album is one of the best by Charles Wright and his legendary funky group – and it features some straighter soul material, like the big hit "Loveland", or their mellow take on "Light My Fire" – plus some great heavy funk numbers, like "Till You Get Enough", "Everyday People", and "Must Be Your Thing". The record's a huge testament to the strength of the group – as they handle the soul material just as well as they do the funky stuff that they're more famous for – and we really dig this one for its tightness and straight ahead positive soul! CD

Killer funky stoner soul from LA! This album is one of the best by Charles Wright and his legendary funky group – and it features some straighter soul material, like the big hit "Loveland", or their mellow take on "Light My Fire" – plus some great heavy funk numbers, like "Till You Get Enough", "Everyday People", and "Must Be Your Thing". The record's a huge testament to the strength of the group – as they handle the soul material just as well as they do the funky stuff that they're more famous for – and we really dig this one for its tightness and straight ahead positive soul! CD features 8 bonus tracks – the previously unreleased "I'm So Tired", a 1970 version of "Comment", a "Radio Spot", and mono single versions of "Love Land", "Till You Get Enough", "Light My Fire", "Comment", and "Must Be Your Thing". CD