Brilliant later work from Ornette Coleman – quite adventurous stuff, too! By the late 80s, the shock of the new of Ornette's harmolodic sound had worn off enough that majors like CBS/Portrait were more than willing to invest in it – but for every catchy modern groove here, there's a left turn into more subtly daring territory! A few tracks feature Jerry Garcia – "3 Wishes", "Singing In The Shower", and "Desert Player" – and his jazz-folk-psych improv guitar style is a pretty wild match for Ornette and Prime Time. We didn't give those cuts nearly enough credit to over the years! The Garcia-less tracks show Ornette's awareness of hip hop and funky fusion, but he doesn't cop to trends. It's more that he's showing his continuing relevance in the 80s landscape. The group features Denard Coleman on percussion and keys, Calvin Weston on drums, Al MacDowell and Chris Walker on bass, Bern Nix and Charlee Ellerbe on guitars, and Ornette on alto, trumpet and violin. Other tunes include "Happy Hour", "Bourgeois Boogie", and "Spelling The Alphabet". CD

With Bradley Jones on electric bass, Al McDowell on electric bass, Chris Rosenberg and Ken Wessel on guitar, Dave Bryant on keyboards, Denardo Coleman on drums, and Badal Roy on tabla. CD

With Todd Nystrom (Alto Saxophone, Soprano Saxophone), David Tillman (bass), Chuck Henry (keyboards), Raymond Davis (percussion). LP, Vinyl record album

A funky classic from the team of Roy Ayers and Wayne Henderson – both at the top of their game here, and effortlessly mixing together jazz, funk, and soul! The record really seems to embrace the best of both artists' styles – some of the bassy groovers that Wayne did so well himself, and while producing for other artists – and those snakey, soulful numbers that we love so much in the late 70s work from Roy Ayers – ultra-sophisticated, but still plenty darn grooving – and some of the most sensual soul you'll ever hope to hear. The whole thing's great – and titles include "Weekend Lover", "Thank You Thank You", "Can You Dance", "It Ain't Your Sign It's Your Mind", "You Make Me Feel Like Rockin With Ya", "Have Your Way", and "Million Dollar Baby". LP, Vinyl record album

(Note: This item is not for sale online until 7:00am on Sunday, April 21. It is in limited supply – and by nature of the Record Store Day rules it will be offered for sale first to customers who visit the Dusty Groove retail outlet in Chicago the morning of Saturday, April 20. It will not be pre-sold or reserved in any way. However, after 7:00am on April 21 we will offer up whatever we have left for sale online.) LP, Vinyl record album

Sampler tracks from Funkmaster Flex Mixtape Vol 3. 12-inch, Vinyl record

The title's not a hokey TV reference or anything like that – but a strong reminder that the Count Basie group was still very much in their prime during the 1970s, thanks especially to the recording talents that the Pablo label brought to records like this! Most of the work here was arranged and composed by Sam Nestico – the talent who was bringing a really fresh voice to the Basie group while still keeping most of its best elements intact. The track "Bundle O Funk" features some great Fender bass in the grooves, and is arguably one of the few funky tracks that Basie ever recorded – but other tracks get back to an all acoustic groove, and include "The Great Debate", "Ya Gotta Try", "Reachin Out", "Featherweight", and "Prime Time". CD

... 12-inch, Vinyl record

... 7-inch, Vinyl record

Talk about a meeting of the minds – a pair of ultra-amazing classics from the team of Roy Ayers & Wayne Henderson – back to back in a single set! At the time of Step Into Our Life, Henderson & Ayers were probably the biggest names in the jazz funk business – both with a smooth soulful style that was pushing the genre onto whole new levels, while still keeping firm roots in jazz – a rare blend that few other artists could handle this well! This initial debut from the pair seems to be much more dominated by the spirit of Roy Ayers' work at the time – particularly the mellow jazzed up work he was laying down on albums like Vibrations and You Send Me – a wicked sound that's rooted in modern soul modes, but filled with plenty of warm jazz elements too. The album's got wonderful vibes and electric piano from Roy – and tracks include "Step Into Our Life", "Lovers Should Always Be Together", "No Deposit No Return", "Ooh Baby", and "For Real". Prime Time is a funky classic from the team of Roy Ayers and Wayne Henderson – both at the top of their game here, and effortlessly mixing together jazz, funk, and soul! The record really seems to embrace the best of both artists' styles – some of the bassy groovers that Wayne did so well himself, and while producing for other artists – and those snakey, soulful numbers that we love so much in the late 70s work from Roy Ayers – ultra-sophisticated, but still plenty darn grooving – and some of the most sensual soul you'll ever hope to hear. The whole thing's great – and titles include "Weekend Lover", "Thank You Thank You", "Can You Dance", "It Ain't Your Sign It's Your Mind", "You Make Me Feel Like Rockin With Ya", "Have Your Way", and "Million Dollar Baby". CD

Great small group work – with Blue Mitchell on trumpet and Pete Christlieb on tenor! LP, Vinyl record album

An early gem from keyboardist Carlos Franzetti – a mid 70s session done with a really ambitious sound, and easily one of Franzetti's most righteous recordings ever! At the time of the set, Carlos was fresh on the New York scene from years in his native Argentina – but he's working here with a host of American players to craft a record of boundless soul and imagination – in a style that mixes free solo work on keyboards and saxes with added strings on many tracks, and a few choice vocals that really expand the set. There's a sound here that almost reminds us of the mix of modes used by another Argentinian, Gato Barbieri, in some of his best work of the period – but Franzetti's approach is much more in a spiritual soul jazz mode than Gato's, yet it shares a similar optimism and ability to freely combine styles. Players on the session include Omar Clay on drums, Marvin Blackman on soprano and tenor sax, Kenny Rogers on flute, and Ray Mantilla on congas – and voices are by Mel Dancy and Gayle Dixon Clay. Titles include "Southamelodic", "In The Dawn Of Time", "Prime Element", "Lola", "Aldebaran", "Norma Jean", "Shave & Haircut", and "Alborada". Originally only out on the Argentinian Trova label – beautifully presented here! CD

The compilation that capped off a younger John Prine's early years at Atlantic Records – and if it might have come off as a bit prematurely titled at at time given the treasure trove of "best of" level material Prine would record for decades to come, there's no question after all these years ther is plenty of genuinely prime Prine songs here! John's Atlantic albums still stand as some of the finest folk rock ever put out by the label, hislyrics and vocals that distinctive mix of wit and grit, Arif Mardin's production smart enough to keep things spare and intimate when necessary, and to bring in some lusher touches at times. Includes "Sam Stone", "Saddle In The Rain", "Pease Don't Bury Me", "Grandpa Was A Carpenter", "Donald & Lydia", "Illegal Smile", "Sweet Revenge", "Souvenirs", "Come Back To Us Barbara Lewis Hare Krishna Beauregard" and "Hello In There". CD

A killer album from Sonny Rollins' prime 60s years at RCA – almost a return to basics, but always with that edge that makes Rollins stand out way more than most of his contemporaries – a subtle balance between straight and modern that really makes the album crackle! The album features Sonny working with Herbie Hancock on piano, Ron Carter or Bob Cranshaw on bass, Roy McCurdy on drums – and a bit of welcome additional cornet from Thad Jones – sounding great here in a small group setting. Tracks are mostly jazz standards, but done with an incredible poise on the solos – completely transforming the tunes with Rollins' rich imagination! Titles include "52nd St Theme", "Round Midnight", "Four", "Afternoon In Paris", "St Thomas", and "I Remember Clifford". LP, Vinyl record album

The compilation that capped off a younger John Prine's early years at Atlantic Records – and if it might have come off as a bit prematurely titled at at time given the treasure trove of "best of" level material Prine would record for decades to come, there's no question after all these years ther is plenty of genuinely prime Prine songs here! John's Atlantic albums still stand as some of the finest folk rock ever put out by the label, hislyrics and vocals that distinctive mix of wit and grit, Arif Mardin's production smart enough to keep things spare and intimate when necessary, and to bring in some lusher touches at times. Includes "Sam Stone", "Saddle In The Rain", "Pease Don't Bury Me", "Grandpa Was A Carpenter", "Donald & Lydia", "Illegal Smile", "Sweet Revenge", "Souvenirs", "Come Back To Us Barbara Lewis Hare Krishna Beauregard" and "Hello In There". LP, Vinyl record album

You gotta love the confidence in Blakey's title for this one – because even in the late 70s, over 20 years since starting the Jazz Messengers, he was still very much in his prime! The album has him working with a wonderful group that includes Bobby Watson, Curtis Fuller, David Schnitter, and James Williams – plus percussionist Ray Mantilla, added in on a few tracks to give the set a slightly fuller sound. Tracks are long, dynamic, and gorgeous – really stepping out with the warmth and imagination that Blakey never let die during his career – but which seemed to be burning as brightly during this stretch as it was during the few really noteworthy points of earlier years. The set features wonderful early readings of Watson tunes "Time Will Tell" and "To See Her Face" – plus "Kamal", "Jody", "Hawkman", "People Who Laugh", "Ronnie's A Dynamite Lady", and "1978". LP, Vinyl record album

A killer album from Sonny Rollins' prime 60s years at RCA – almost a return to basics, but always with that edge that makes Rollins stand out way more than most of his contemporaries – a subtle balance between straight and modern that really makes the album crackle! The album features Sonny working with Herbie Hancock on piano, Ron Carter or Bob Cranshaw on bass, Roy McCurdy on drums – and a bit of welcome additional cornet from Thad Jones – sounding great here in a small group setting. Tracks are mostly jazz standards, but done with an incredible poise on the solos – completely transforming the tunes with Rollins' rich imagination! Titles include "52nd St Theme", "Round Midnight", "Four", "Afternoon In Paris", "St Thomas", and "I Remember Clifford". LP, Vinyl record album

Features Chris Potter on alto, soprano, and tenor sax – plus Robin Eubanks on trombone, Steve Nelson on vibes, and Billy Kilson on drums. Tracks include "Looking Up", "Make Believe", "A Seeking Spirit", "High Wire", "Jugglers Paradise", "Candlelight Vigil", "Wonders Never Cease" and "Down Time". CD

About as classic as you can get for the great Eddie Cochran – no surprise, since the album was put together to mourn his untimely early passing, and is filled with some of the best tracks he ever cut for Liberty Records! The music here is Cochran at his prime – that post-country, pre-pop sound that has Eddie drawing on a lot of southern roots, but really giving the music a raw focus – with that sound that went onto make him a huge influence for years to come – through mod scenes, punk years, and beyond! Titles include "Lovin Time", "Drive In Show", "Teenage Heaven", "Sittin In The Balcony", "Summertime Blues", "C'Mon Everybody", "Cut Across Shorty", and "Somethin Else". LP, Vinyl record album

Set of material from the mid 80's – one featuring Ornette reunited with his classic quartet of Don Cherry, Charlie Haden, and Billy Higgins; the other with his Prime Time group that included Bern Nix, Jamaaladeen Tacuma, and Denardo Coleman. The whole set's a "30 Years Of Harmelodic Music" tribute, and includes the tracks "Space Church", "In All Languages", "Latin Genetics", "Peace Warriors", "Music News", and "Feet Music". Some tracks are done by both bands, and are a good illustration of how Ornette's style had grown in the 30 year period. CD

Daft Punk's epic second live album – an uncommon feat for an electronic act of their era, in that they had that kind of pop or rock cache to build a reputation as a must see live "band', without compromising their club floor shaking genius – and a bit of a classic in its own right. This one came a decade after their first, and again somehow harnessing the show's energy in perfect form and blasting it outta the speakers – and it includes Robot Rock", "Oh Yeah", "Steam Machine", "Brainwasher", "Superheroes", "Rock N Roll", "Alive", "Da Funk", "One More Time", "Prime Tiem Of Your Life", "Short Circuit" and more. LP, Vinyl record album

Prime symphonic disco from the mighty John Davis and his well-named Monster Orchestra! The set's got a dramatic flourish that still mixes in plenty of live instrumentation – including keyboards and flute from John, plus some nice congas from Larry Washington! John sings lead vocals on most cuts, but uses some cool processing to kind of space out the sound – making for a compressed and flanged-out sound that's poppy, but really compelling. And although the whole thing sounds hokey, the quality of the grooves is actually pretty great from an instrumental standpoint. Titles include "Once Upon A Time", "We Can Fly", "Up Jumped The Devil", "You Gotta Give It Up", "You're The One", "The Magic Is You", and "Recapitulation". LP, Vinyl record album

A lost Duke Ellington gem from the late 50s – a session that has a decidedly different look than some of his other records of the time! We don't know if the Duke was into Sun Ra – but it almost seems like he was copping his thunder with this title and band name – a fair bit more flashy than the usual presentation for the Ellington group! The record's not nearly as trippy as you'd expect – but it's still a prime set of Ellingtonia from those key late 50s years – material played by a smaller group of "Spacemen" than Duke's fuller orchestra – with a bit more room for small group interaction, almost in a Verve mode. Players include Jimmy Hamilton on clarinet, Clark Terry on trumpet, Paul Gonzalves on tenor, Quentin Jackson on trombone, and Jimmy Woode on bass – and titles include "Avalon", "Midnight Sun", "Spacemen", "Bass-ment", "Early Autumn", and "Jones". CD also features a bonus alternate take of "Jones". 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

Just Russ Freeman on piano and Shelly Manne on drums! Tracks include "Prime Time", "Loose As A Goose", "Blue Monk", "On A Green Dolphin Street", and "Lullaby Of The Leaves". CD

Prime Grateful Dead from the mid 70s – a time when the group were traveling famously around the globe, spinning out long songs with plenty of solos – but also able to keep on coming up with nicely sharp songs on records like this! By this point in their career, they're so instrumentally strong, they hardly need to show off – that is, they certainly do, but in a much more subtle way than before, and maybe than in a live setting – packing decades of roots and years of deftness into songs that include "Franklin's Tower", "Crazy Fingers", "Sage & Spirit", "Blues For Allah", "Sand Castles & Glass Camels", and "The Music Never Stopped". LP, Vinyl record album

Mostly mellow numbers, but not without some charm – featuring tracks written by Rod McKuen for a variety of films and TV shows, including The Prime of Miss Jean Brodie, A Boy Named Charlie Brown, and Joanna. Greenslade was McKuen's prime interpreter at the time –and he's recording here on Rod's own label. Titles in clude "Lonesome Cities", "Listen To The Warm", "Mr Kelly/Kelly & Me", "Jean", "Pastures Green", and "The Loner". LP, Vinyl record album

A holy grail from the prime years of Blue Note hardbop – and one of the first records ever recorded by Clifford Jordan, then a fresh young tenor talent, just blown in from Chicago! The album has Jordan working with an all-star lineup that includes Art Farmer on trumpet, Sonny Clark on piano, and Louis Hayes in drums – blowing with a style that is a bit looser than other Blue Notes from the time, with touches of lyrical expression, brought on by the presence of Farmer and Hayes. Great overall – as tight as a bop side, but with a much deeper soul! Titles include "Confirmation", "Laconia", "Soul-Lo Blues", and "Cliff Craft". LP, Vinyl record album

Quite possibly the greatest album ever cut by pianist Duke Jordan – a seminal force in bop, both for his writing and playing – but an artist who rarely ever got the chance to work as a leader! This session's a prime bit of lost Blue Note – with an unusual and edgey lineup that includes Dizzy Reece on trumpet, Stanley Turrentine on tenor, Reggie Workman on bass, and Art Taylor on drums – all coming together under Jordan's direction. The set's got a wonderfully classic feel – a mix of hardbop with slightly more lyrical leanings, and a few darker undercurrents – heard to best effect in Jordan's writing, which reminds us of some of his work on French soundtracks from the same time. Titles include "Deacon Joe", "Si-Joya", "Flight To Jordan", and "Squawkin". CD

Quite possibly the greatest album ever cut by pianist Duke Jordan – a seminal force in bop, both for his writing and playing – but an artist who rarely ever got the chance to work as a leader! This session's a prime bit of lost Blue Note – with an unusual and edgey lineup that includes Dizzy Reece on trumpet, Stanley Turrentine on tenor, Reggie Workman on bass, and Art Taylor on drums – all coming together under Jordan's direction. The set's got a wonderfully classic feel – a mix of hardbop with slightly more lyrical leanings, and a few darker undercurrents – heard to best effect in Jordan's writing, which reminds us of some of his work on French soundtracks from the same time. Titles include "Deacon Joe", "Si-Joya", "Flight To Jordan", and "Squawkin". CD features two bonus tracks – "Diamond Stud" and "I Should Care". CD

Two albums from Peggy Lee on one CD. First up is I Like Men! – an obscure album of "guy" songs from the end of the 50s! There's a playful feel to the music that fits Lee's vocals very well – as do the bouncy arrangements from Jack Marshall, who turns out to be one of the best musical partners that Peggy could ever hope for! The set's got that nice jazzy groove that really makes Lee's return to Capitol Records so great – and titles include "Good For Nothing Joe", "Charley My Boy", "Jim", "Bill", and "It's So Nice To Have A Man Around the House". On Sugar 'N' Spice Peggy's sweet as sugar, but working here with a heck of a lot of spice – thanks to arranger Benny Carter, who brings in a wonderfully jazzy feel to the set! The album's one of Peggy's best from her comeback years at Capitol – and a prime example of the syncopated, slinking mode of arrangement that was the best 60s discovery for the Peggy Lee voice – and which allowed her to create a unique space for her own maturing sexuality in pop music. The whole thing's great, and avoids the cliches of some of the other Peggy Lee albums from the time. Titles include "I Believe In You", "Ain't That Love", "The Best Is Yet To Come", "The Sweetest Sounds", "Teach Me Tonight", "Tell All The World About You", and "Big Bad Bill". CD

An early 70s call to action from the great Dick Gregory – a figure who began his career on the comedic stage of the Civil Rights generation, but soon rose to become one of the most powerful voices for change – so much so that Gregory changed his own ambitions, and move all his activities from entertainment to social action! Dick first gave the world this book in 1972, a masterful unpacking of the forces of repression at work – both overt and covert – and although a fair bit of history has been filled in since the time of its publishing, the messages within still hold a great deal of power – and are essential to anyone seeking change in a larger context. America has changed a lot from the 70s, but the issues at hand here are still crucial – and still delivered with a clarity that few folks can do this well. Softcover edition is 293 pages. Book

Two classic 60s albums from pianist Andrew Hill – back to back in a single set! First up is Point Of Departure – mindblowing work from pianist Andrew Hill – one of the key records during that short initial run when Blue Note was really giving him a special showcase for his talents – and when the label was dabbling in more avant jazz as part of the "new thing" moment on the scene! The group here is really the stuff of legends – as the set features a very late performance from Eric Dolphy on alto, plus Joe Henderson on tenor, Kenny Dorham on trumpet, Richard Davis on bass, and Tony Williams on drums – all players at the prime of their young talents, soaring to the skies under the leadership of Hill – skittishly working their way into territory that's never truly free, but wonderfully expressive and exploratory – a clear summation of the sense of "modern" in modern jazz! All tracks are originals by the pianist, too – and titles include "New Monastery", "Flight 19", "Spectrum", "Dedication", and "Refuge". Compulsion is one of the most dynamic albums that Andrew Hill ever cut for Blue Note – a record of long tracks, played by a largeish group who seem perfectly suited to Hill's most creative musical ideas! There's an approach here that almost predates some of the more righteous soul jazz ensemble sides of the 70s – as Hill's piano leads a octet that features Freddie Hubbard on trumpet, John Gilmore on tenor and bass clarinet, Cecil McBee and Richard Davis on basses, Joe Chambers on drums, and Nedi Quamar and Renaud Simmons on percussion. The percussionists roll out with quite a bit of presence in the set – not so much as on some of the Art Blakey percussion sides for Blue Note, but more with a pronounced sense of "bottom" that you might not always hear from Hill – an earthy, sometimes organic way of riffing that then allows freer solo work from the horns and piano on the top! Titles include "Compulsion", "Legacy", "Premonition", and "Limbo". CD

Fabulous stuff – one of the legendary albums that funky flute player Bobbi Humphrey cut with producer Larry Mizell! The record's a prime example of the Mizell genius at work – as Larry's arranged these fantastic backdrops for Bobbi's flute – soaring keyboard lines, layers and layers of rhythm, and just enough space for Bobbi to come in and send the record to the heavens with her spiritually grooving sound. Harvey Mason plays drums, Jerry Peters is on keyboards, and the rest of the group's an all-star LA studio jazz assemblage – perfectly fit together by Larry's arrangements and production in that classic cosmic mid 70s Mizell wall of sound! Tracks include "Fun House", "Satin Doll", "San Francisco Lights", and "New York Times". LP, Vinyl record album

A beautiful blend of folksy vocals and light jazz touches – all in a laidback and blue-tinged mode that's not unlike some of the best late 60s Tim Buckley work for Elektra! Like Tim, Gary Marks has a real respect for jazz in the mix – and he allows plenty of space here for vibes from David Samuels, guitar from John Scofield, and piano from Michael Cochrane – all of which serve as a lovely backdrop for Gary's beautifully stretched-out vocals. There's a quality here that's almost a bit like Kenny Rankin at times – but a bit looser, and a bit bluer – and the record's a real under-discovered gem from the prime years of the American singer/songwriter era, only briefly issued on Carla Bley's JCOA label. Titles include "Gathering", "First Snowfall", "Him Sometimes", "A Gina Theme", "Secret She", "Seasons", "We Free", and "Sailing". CD

Sweet modern soul from this great group – one of the brightest points in major label soul during the early 80s! Change, ironically, is a group that went through a number of line-up changes, even in their prime – with the tight, clubby, yet genuinely soulful production a constant. This record is made all the better for the beautifully soulful dual lead vocals of James Robinson and Deborah Cooper. The tracks have deeply layered live instrumentation – keyboards, guitar, percussion, horns and strings – blended seamlessly with early 80s production touches. Includes the hits "The Very Best In You" and "Hard Times (It's Gonna Be Alright)", and others that are just as sweet: "Take You To Heaven", "Oh What A Night", "Promise Your Love","Keep On It", "You're My Number One" and more. LP, Vinyl record album