A big 70s album for Clapton – with titles that include "Cocaine", "The Core", "Wonderful Tonight", "Lay Down Sally", "Next Time You See Her", and "Mean Old Frisco". LP, Vinyl record album

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A great little set from Leroy Hutson – proof that he was still going strong through all his years at Curtom! The vibe here is a bit different than his first few records, and you might be suspicious with Leroy wearing a disco shirt on the front – but the sound is wonderful, and only shows Hutson blossoming into a more sophisticated singer, songwriter, and producer – one with a great ear for the careful balance needed for the modern soul generation! The shift is a bit like Roy Ayers on his late 70s work for Polydor – and Hutson is definitely on a par with Ayers in our book – we'd always put the two side by side for the strength of their work in the 70s. Seminal tracks include "So Nice" and "Right or Wrong" – both of which are amongst some of his best work ever – and other tracks include "Unforgettable", "Funk In My Life", and "Lonely Without You". LP, Vinyl record album

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One of the last great Curtis Mayfield albums – often overlooked, but essential in any collection of his work! The sound is still very much in the classic Curtom mode, with less of the uptempo and disco groovers that were showing up on some of the other records from the time – and more of the sweetly soulful styles that Curtis was also working on as his 70s career progressed. There's a wonderful sense of Mayfield's persons that comes through on every cut here – the righteous, proud Curtis from the earlier part of the 70s – and the warmer, mature Mayfield that was showing up a bit later on. Titles include the classic groover "Tripping Out" – plus "Never Let Me Go", "Something To Believe In", "It's Alright", and "Never Stop Loving Me". LP, Vinyl record album

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A surprising turn for Jimmy Ruffin – given that the ex-Motown singer is working here with Robin Gibb, who co-produced and wrote a number of the tunes too, in collaboration with Blue Weaver! The approach works well, though – and gives that amazing Jimmy Ruffin voice a whole new setting to shine – on titles that include "Jealousy", "Two People", "Where Do I Go", "Searchin", "Changin Me", "Hold On", and "Night Of Love". LP, Vinyl record album

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As the title indicates, the session features Buddy DeFranco and Oscar Peterson – but the real guy we wanna thank here is arranger Russ Garcia! Unlike some of the other Verve "soloist with the Peterson Trio" albums of the 50s, this one is more of a shared effort that has Buddy and Oscar both acting as soloists over larger backings directed by Garcia. Russ takes a lot of cues from Ralph Burns on the session – and like Burns on earlier Verve recordings, he sets things up so that the orchestrations never overwhelm the players – and instead simply augment their moods and shade in the colors of the tunes. We especially like Peterson in this format – as he was so often recorded heavily in trio format – but DeFranco is great too, snaking out over the top of the strings with a lean and angular tone on clarinet. Titles include "They Can't Take That Away From Me", "I Got Rhythm", and "It Ain't Necessarily So". LP, Vinyl record album

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Titles include "The Curse Of Baba Yaga", "The Old Castle", "Blues Variation", "Promenade", "The Sage", and "The Gnome". LP, Vinyl record album

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Saxophonist Shamek Farrah is best known for a pair of legendary 70s albums on the Strata East label – but he was still working strongly in the American jazz underground for years after that – as you'll hear on this brilliant batch of live recordings from the end of the 80s! The album was initially only issued as a cassette sold at gigs, and it shows Farrah sounding wonderful in the company of trumpeter Norman Person – blowing alto and bringing the fire he had on his 70s spiritual jazz recordings – as he and Person work in a few different groups, alongside some especially great piano work from either David Durrah or Sonelius Smith – both players with strong legacies of their own! Garry Hammon joins the pair on tenor on two tracks, Marvin Neal on trombone on one, and the final track is a trio number without Farrah, showing wonderful phrasing from Person next to Smith's piano. All titles are nice and long – and tunes include "Negative Forces", "Aisha", "Footprints", "Timeless Beginning", and "I Remember Clifford". LP, Vinyl record album

Ben Webster and Coleman Hawkins on alto saxophone, Bill Pemberton on bass, Buster Bailey on baritone clarinet, Jimmy Crawford on drums, Al Casey on guitar, Red Richards on piano, Garvin Bushell and Hilton Jefferson on saxophone, Haywood Henry on tenor saxophone, Benny Morton, Dickie Wells, and J.C. Higginbotham on trombone, and Emmett Berry, Joe Thomas, Rex Stewart, and Taft Jordan on trumpet. LP, Vinyl record album

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A hip little live date from Aretha Franklin – one that's got a very jazzy feel, and some great small combo backings! The album's almost a distillation of the jazzy styles on Aretha's first albums for Columbia – taken into even leaner territory here, in ways that really set Franklin loose on vocals – making for some of her most forceful moments on record at the time. The quartet features pianist Teddy Harris, who steps back on a few tunes to let Franklin take over the piano – and titles include "Once In A Lifetime", "Love For Sale", "Impossible", "Today I Love Everybody", and "Without The One You Love". LP, Vinyl record album

The second album by The Freedom Sounds – a very cool west coast soul jazz collective, headed by Wayne Henderson, and featuring a great mix of jazz, soul, and Latin rhythms! This set's a little more ambitious than the group's first album – with a number of tracks that groove in a very strong Latin jazz mode, sounding a lot like some of the best work on Atlantic at the time by Mongo Santamaria, Hubert Laws, and others. Henderson's trombone is still a key solo instrument, but the album also features some incredible sax work from Willie Gresham – a player we know little about, but who makes the album cook in the same fantastic way that Hubert Laws and Sonny Fortune did for Mongo's best work of the 60s! The grooves are very right-on, with plenty of excellent percussion work – and titles include the originals "Love-Out", "Behold The Day", and "Soul Sound System", plus some groovy covers, like "All You Need is Love", "What The World Needs Now Is Love", and "Are You Sure?" – all done with a great Latiny groove! LP, Vinyl record album

A great little session – and a meeting that was one of the best things to happen to the Oscar Peterson trio during the 50s! Stan's tone fits perfectly with the group here – and his playing next to the guitar of Herb Ellis recalls many of the fine strengths of the early 50s Getz sides with Jimmy Raney – although somehow coming across with even more depth and imagination here – probably a result of the more sophisticated approach to productions handled by Verve! Peterson's no slouch, either – but Stan's the man who really makes the session sparkle – as you'll hear on tunes that include "Tour's End", "Bronx Blues", "I Was Doing All Right", and "I'm Glad There's You". LP, Vinyl record album

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A classic album from the early years of soul music – the only full length set ever served up by the great Joe Henderson – a vocalist with roots in the legendary Fairfield Four gospel group, but sounding equally great here in a secular mode! The arrangements are by Cliff Parham, and they've got this blend of bluesy vocals and jazzier backings – in a style that's very much like the best Duke/Peacock work of the time – with a spectacular focus on Joe's voice in the lead! The whole album's great, filled with unusual material – with titles that include "Sad Teardrops At Dawn", "Right Now", "Big Love", "Just Call Me", "Snap Your Fingers", "After Loving You", and "If You See Me Cry". LP, Vinyl record album

After working for years in the Crusaders, then honing his production skills with excellent work for Fantasy and Mercury, Wayne Henderson put out this album of his own, which drew on a lot of the work he'd been doing during the mid 70s. The album's a showcase for his At Home productions team, and it features work by Bobby Lyle, Roland Bautista, Ronnie Laws, and others. Henderson plays trombone, but he also gets in the way a bit with some hipster vocalizing that doesn't quite work. Titles include "Lady Bug", "Foot Stompin Music", "I'm Staying Forever", and a version of the great stepper "Keep On Keepin On". LP, Vinyl record album

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With sidemen that include Buster Bailey, Hilton Jefferson, Pee Wee Irwin, Chu Berry, JC Higginbotham, and others. LP, Vinyl record album

A great comeback for tenor legend Gene Ammons – not just in a musical sense, but also because Jug had spent most of the past few years in prison – as part of the usual trumped-up drug charges that were filed against musicians at the time! At the time of this album, Ammons had not recorded since a very successful flurry of sides recorded in 1961, done for a number of labels, and issued slowly during his time off the recording market – a precursor to this fantastic return to form, which has Gene hitting more of a jazz funk mode, in the best Prestige style at the end of the 60s! Case in point is the presence of Bernard Purdie on drums on a number of cuts – in a lineup that also features some organ from Sonny Phillips, piano from Junior Mance, and electric bass from Bob Bushnell – plus congas from Candido for a nice extra kick! Titles include the funky cuts "Tastin' the Jug" and "Jungle Boss" – plus "Madame Queen" and "Feeling Good". LP, Vinyl record album

Gene Ammons' last session – not as funky as earlier work for Prestige, but pretty nice at that! The group's got Gary Bartz on alto, Kenny Drew on piano, Sam Jones on bass, Louis Hayes on drums, and Nat Adderley on cornet – and they groove together well, in the kind of soul jazz/modal mode that you'd find on some of the better mid 70s sides for the Muse label. The album includes a nice remake of Duke Pearson's "Jeanine", plus the tracks "Out In The Sticks", "Alone Again Naturally", "It Don't Mean A Thing", and "Geru's Blues". LP, Vinyl record album

A nice little 2-fer collecting two great meetings of two greats! Jug and Stitt go head to head on Boss Tenors, a classic album of tracks that perfectly captures the joy and fury of their live performances from years before! The record was cut in Chicago with a very hard rhythm section that includes John Houston on piano, Charles Williams on bass, and George Brown on drums – and it's way heavier than the usual Verve "meeting of the masters" session, and feels more like a record that should have been issued on Prestige or Argo. Both players are impeccable, and the solos stretch out for a long long very live time. Titles include "Blues Up & Down", "The One Before This", and "Counter Clockwise" – but these guys even groove amazingly on standards like "Autumn Leaves" and "No Greater Love". Boss Tenors In Orbit was a follow up one year later, an obscure little session with the pair once again recreating the energy of their live shows – as they stretch out nicely on very long tracks that have spare backing by the Don Patterson trio! The cuts are mostly standard stuff – "John Brown's Body", "Walkin", "Long Ago And Far Away" – but the twin-tenor sound is great, and Patterson's free organ lines riff away nicely! LP, Vinyl record album

Hard swinging big band material from Sweden – featuring the big band of Harry Arnold arranged by Quincy Jones. Quincy had been spending a lot of time in Sweden during the mid 50s – bringing with him a host of great players that would soon become big names on the European scene. Biggest of these is Benny Bailey, who plays some good solos here with a mostly-Swedish group that includes Arne Domnerus, Bengt Hallberb, Ake Persson, and Bengt-Arne Wallin. The style of the work, and its trans-Atlantic jazz orientation, is a direct precursor of later work by the Clarke-Boland Big Band – of whom Bailey was a big part. Titles all swing nicely, and tracks include "Doodlin", "Room 608", "Quincy's Home Again", "Brief Encounter", and "Meet Benny Bailey". LP, Vinyl record album

AWB's first for Atlantic – and a nice slice of funk that proves that they can mix it up with the best groups of the 70s! The record's got plenty of sweet electric keyboards over smooth funky basslines – and as the years go by, the band's white boy vocals don't sound nearly as bad as we remember them. And besides, when they play their instruments so nicely – how can you hold the singing against them? Includes the killer classic "Pick Up The Pieces", sampled more times than we can remember – plus "You Got It", "Just Wanna Love You Tonight", "Person To Person", and a nice remake of the Isley Brothers' "Work To Do". LP, Vinyl record album

One of a handful of late 50s albums that Chet Baker recorded for Riverside – all of which are some of his last great 50s work in the studio, before a shift in the 60s to a wider-ranging approach to his music! The style here is definitely in the "classic" Baker mode set down for Pacific Jazz – but a bit more fleshed out by the other players in the set – who seem to push a bit more personality into the tunes, and not just let Chet's trumpet dominate. The sound is soft and gentle – as you'd expect from the title – and other players include Bill Evans, Pepper Adams, Kenny Burrell, Paul Chambers, Connie Kay and Philly Joe Jones – all bringing a bit of a New York undercurrent to the west coast Baker solo style. Titles include "How High the Moon", "It Never Entered My Mind", "If You Could See Me Now", "You'd Be So Nice To Come Home To", "Time On My Hands", and "You And The Night And Music". LP, Vinyl record album

A rare Italian-only album from Chet Baker – wonderfully cooking small group work that's a far bit greater than his more familiar "with strings" session recorded in Italy during the same period! The album's got Chet working with an array of great players from the local scene – including Gianni Basso on tenor sax, Renato Sellani on drums, and Glauco Masetti on alto sax – all in a groove that shows plenty of traces of that opened-up sound that Baker was exploring in the very late 50s – the modes he was crafting in his group with Phil Urso on tenor, as he started to get a bit more bit in his style! Yet there's also a nicely compressed approach going on here too – that west coast sound that was a strong influence on the Italian players of the postwar years, but which was unfolded to new ends in their hands. Titles include "Lady Bird", "Line For Lyons", "Tune Up", "Cheryl Blues", "Indian Summer", and "Pent Up House". LP, Vinyl record album

Barclay James Harvest sound almost a bit more melancholy here than on previous records – maybe just because the leadoff hit track "Hymn" has a brooding message on drug deaths – but also because there seems to be a slightly more intense quality to their overall approach! The group are in very comfortable, confident territory – so much so, they can slow things down a bit and move with a brooding sense of soul that almost seems a precursor to the power ballad scene that would emerge a few years later. These tracks are still nicely free of the schmaltz of those – but definitely have a sense of compression that points the way forward – on titles that include "Hymn", "Love Is Like A Violin", "Leper's Song", "Taking Me Higher", "Spirit On The Water", "Sea Of Tranquility", and "Hard Hearted Woman". LP, Vinyl record album

Way before Sinatra first grabbed the "Chairman Of The Board" title for his own musical persona, Basie laid great claim to the tag with this tight little album for Roulette! The album's got the 50s Basie band working at the height of their powers – with original compositions written and arranged by Frank Foster, Ernie Wilkins, Thad Jones, and Frank Wess – all of whom play in the bad, along with other all-stars like Freddie Green, Billy Mitchell, and Al Grey. The sound is tight, soulful, and searing Basie all the way through – with tunes that include "Segue In C", "Blues In Hoss' Flat", "Who Me?", "The Deacon", "Half Moon Street", "Mutt & Jeff", "TV Time", "Speaking Of Sounds", and "HRH". LP, Vinyl record album

Repackaging of the Beach Boys' installment in Capitol's hot rod-themed Shut Down series – the first edition of which was devoted to a host of different artists! It's clear that even in this setting, The Beach Boys have way more to offer than just a few gimmicky car songs – as the record offers some of the early group's most tender, personal moments – real early gems like "The Warmth Of The Sun" and "Don't Worry Baby" - mixed in with more playful numbers like "Fun Fun Fun", "This Car Of Mine", "In The Parkin Lot", "Shut Down Part 2", and "Keep An Eye On Summer". It's this mix that really gets at the group's genius at the time – maturity creeping out amidst the youthful themes, in ways that few other 60s acts could ever hope to match. LP, Vinyl record album

A bittersweet set of vocals from Polly Bergen – recorded with a sound that really fits her sad-eyed look on the cover! Although Bergen's voice is sometimes confident and full, it's nicely restrained here – often somewhat dark-toned and moody – in ways that remind us of Morgana King, especially in the way that Polly holds back at just the right moments – keeping things mature by never getting too overly emotive. There's a nice sense of depth to the record that goes way beyond simple pop singing – and Luther Henderson's arrangements further help color the sound of the set – by giving it a sense of unity that almost reminds us of some of Sinatra's best blue-toned late 50s albums for Capitol. Titles include "By Myself", "When The Wind Was Green", "All Alone", "Glad To Be Unhappy", "Too Late Now", "He Didn't Call", and "Not Like Me". LP, Vinyl record album

An explosive session from an expanded edition of the Jazz Messengers – recorded at a key point when Art Blakey moved the group up to six members instead of five! Although bigger than the group on most Jazz Messenger Blue Notes, the sextet have an energy that's almost tighter – a sense of poise, focus, and vision that's not just driven by Blakey's drum kit alone – but by the kind of unique magic that only happens during rare groupings in classic jazz. A key part of the energy here comes from pianist Cedar Walton – who's replacing the Bobby Timmons soul jazz mode with a sound that's a bit more expansive and visionary. But equally important is the three horn lineup of Freddie Hubbard on trumpet, Curtis Fuller on trombone, and Wayne Shorter on tenor – a two-brass frontline that's used far differently than other groups – bold one minute, but personal and sensitive the next. There's a mixture of warmth and driving energy here that's simply incredible – a prime example of Blakey taking things to the next level, when it would have been easy enough for him to sit on his laurels and keep doing the same thing over and over again! Includes classic readings of Cedar Walton's "Mosaic", Freddie Hubbard's "Crisis", and Curtis Fuller's "Arabia" – as well as Shorter's excellent "Children Of The Night". LP, Vinyl record album

Mary J Blige is as fresh and essential as ever here – still sticking true to the hip hop roots in her soul music, but with a contemporary vibe that shows that she's not just content to rest on her laurels from the old days! The set features key work from DJ Khaled, HER, Anderson Paak, Jadakiss, and others – and there's a style here that's lean, majestic, and mature – really a great fit for the more thoughtful lyrics that Mary's been giving us of late, as she absorbs the ups and downs of life's journey, and has a stronger ability than ever before to find the right way reflect. Titles include "Here With Me", "Love Will Never", "Love Without The Heartbreak", "Enough", "Need Love", "Good Morning Gorgeous", "Come See About Me", "Rent Money", "Tough Love", "Amazing", and "Gone Forever". LP, Vinyl record album

The brilliant consummation of Bowie's late 70s years in Berlin – a record that showed he could take the experiments in sound he was crafting with Brian Eno, and turn them back into the kind of creepily catchy rock tunes that first made him a legend! Eno's help on the record is still quite strong – heard very well in the record's use of odd electronics and exotic themes – of a sort that Eno would later explore on his own with David Byrne. But the real charm here is pure Bowie – with an unabashed flair for a dramatic lyric, a well-chosen use of a heavier guitar, and a sense of personality and poise that makes the record one of his most unified ever! Titles include "Red Sails", "Look Back In Anger", "Repetition", "Boys Keep Swinging", "Red Money", "Yassassin", and "DJ". LP, Vinyl record album

A key blend of two chapters in David Bowie's career – his guitar-heavy groove with the Spiders From Mars, and his 60s roots in mod London! The tracks here all date from the mid 60s, and are Bowie's homage to that period in his life – but they're all played with a glammish 70s sensibility, and some definite Ziggy Stardust elements in the way the guitars come into the mix. Given Bowie's rise as a key songwriter of his time, the step back to an album of all covers is a surprising, but genius move – and the execution of the tunes here comes off brilliantly – with plenty of personal spirit that keeps them from being simple rehashes of hits! Tracks include "See Emily Play", "Friday On My Mind", "I Can't Explain", "Everything's Alright", "Don't Bring Me Down", "Shapes Of Things", and "Here Comes The Night". LP, Vinyl record album

A great early album by Oscar – one that focuses on his own compositions, and a few other hip tunes written by other jazz players, with new vocals added by Oscar! These kind of tracks are the stuff that made him a legend instantly – strongly voiced vocal tunes, handled with a flair that few other singers could match, save for Jon Hendricks, who also shared Oscar's talent for crafting a jazz-based lyric. Arrangements are by Oscar's hometown talent Floyd Morris – and titles include "One Foot In the Gutter", "The Snake" (later covered by Al Wilson), "So Help Me (A Little 3/4 For God & Co)", "The Tree & Me", and marvelous lyrical versions of Miles Davis' "All Blues" and Duke Pearson's "Jeanine". Essential stuff for jazz juice fans! LP, Vinyl record album

A surprisingly wonderful solo album from Jack Bruce – one that's got a tighter approach to the songwriting, and done in a strange jazz-rock-folk style that at times recalls the early work of Roy Wood, or some of the later work of Tim Hardin. The album's got a strangely personal feel – as Bruce stretches himself a bit more on the lyrics, and goes for a few passages that are more intimate than one might expect from other work. The result is possibly his most cohesive album overall, and a real treat to anyone with ears for a solid jazz rock outing! Titles include "Folk Song", "Morning Story", "There's A Forest", "Can You Follow", "Victoria Sage", "Letter Of Thanks", and "Post War". LP, Vinyl record album

Amazing work from a young Chico Buarque – a record that seems to draw on all the best elements of 60s Brazilian pop, and forge them into a sound that's all its own! At one level, there's a post-bossa style of larger arrangements here that recalls the work of Edu Lobo – handled by Maestro Gaya in a mode that recalls some of the best bits of the time on the Elenco or Forma labels. But at another level, there's also a personal and slightly folksy style that reminds us of the initial power of Geraldo Vandre – a sound that's clearly present in Buarque's work, and which stands in a direct line to the best strengths of the emerging Tropicalia generation. The set's filled with classics that include "Carolina", "Roda Viva", "O Velho", "Ate Pensei", "Sem Fantasia", and "Desencontro" – and a few tracks feature Chico in duets with either Toquinho, Cristina, or MPB4! LP, Vinyl record album

Donald Byrd's second foray into the "with voices" genre – done in the same style as his groundbreaking New Perspective album – and with similar choral work from lyrical modernist Coleridge Perkinson! The vibe here is slightly different than the previous record – in that there's Hammond from the great Freddie Roach on a few cuts, and piano from Herbie Hancock throughout – in a stunning lineup that also includes Stanley Turrentine on tenor and Grant Green on guitar – both great players in a larger lineup like this. As before, Byrd's solos are wonderfully – soaring out over the vocals and instrumentation – with a soulful vibe that really works well with the rhythms at the core. Donald Byrd and Duke Pearson wrote all of the tunes – all really great numbers – and titles include "Pearly Gates", "March Children", "Brother Isaac", and "I'm Tryin' To Get Home". LP, Vinyl record album

A really landmark album in soulful jazz for the 60s – a set that takes the already-great energy of the young trumpeter Donald Byrd, and mixes it with some voices borrowed from gospel music bur turned towards modern jazz – all in a style that's very similar to some of the Max Roach experiments from the time! The core group is really great – with tenor from Hank Mobley, guitar from Kenny Burrell, and piano from Herbie Hancock – plus vibes from the obscure Donald Best, an instrument that you don't always hear on Donald Byrd's albums! Added to this group are voices directed by Coleridge Perkinson, a very hip cat who takes the voices far away from cliched modes of earlier years – and into some very righteous territory that makes the record one of Donald Byrd's first really powerful statements as a leader. Duke Pearson handled the arrangements, and the sound is beautiful and spiritual, with a sound that mixes Blue Note hardbop with a style that would later show up on labels like Strata East, or in the experiments of Max Roach and Billy Harper. The tracks are long and moody, and the vocal group never gets in the way, but instead backs Byrd in a way that lets him hit new heights, and which gives him a stronger sense of voice. Titles include the classic "Christo Redentor", plus "Chant", "The Black Disciple", and "Elijah". LP, Vinyl record album

Beautiful work from the legendary Hoagy Carmichael – and one of the few albums to feature him singing his own work! Hoagy's name is one that you're more likely to see in the songwriting credits than in the artist slot for a record – but he's actually got a wonderful voice, one that's filled with honest, personal charms – and which has a sometimes broken-down quality that's perfect for the gentle words of his tunes. This wonderful set features Carmichael working with sublime small combo backing – players who include Harry Edison, Jimmy Rowles, and Art Pepper – working with arrangements penned by Johnny Mandel. Titles include "Rocking Chair", "Georgia On My Mind", "Skylark", "Two Sleepy People", and "Baltimore Oriole". LP, Vinyl record album

The birth of modern jazz guitar – seminal sides recorded by Charlie Christian, working in small group format with Benny Goodman, Lionel Hampton, Fletcher Henderson, and even a bit of Basie. Christian's tone on the instrument is fantastic – and even though the style of the tracks is more in the swing era mode, there's a direct line between his playing and later work by Grant Green and other 60s jazz guitar giants. Titles include "Six Appeal", "Gilly", "Waiting For Benny", "Seven Come Eleven", "Airmail Special", "Breakfast Feud", and "Wholly Cats". LP, Vinyl record album

A strong 80s set from Gene Clark – with guest vocals from Chris Hillman and Thomas Jefferson Kaye – and titles that include "Something About You Baby", "Rain Song", "Made For Love", "Feel A Whole Lot Better", and "Vanessa". LP, Vinyl record album

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

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

A masterpiece of mellow soul and jazzy grooves from the groundbreaking Norman Connors – an album that sails to the stars on a sweet blend of mellow moments and more upbeat tracks too! The record features some crucial vocal talents from Michael Henderson and Phyllis Hyman – both relative newcomers here, and making a great transition from jazz to soul with Connors help – hitting this amazing territory that would inform countless other artists in years to come – but never be done again this well! The instrumentation is wonderful, too – schooled in the jazz roots of Connors' music – and featuring Gary Bartz on alto, and both Hubert Eaves and Onaje Allen Gumbs on keyboards. Titles include the seminal title cut "You Are My Starship" – one of the best late night slowjams ever – plus remakes of "The Creator Has a Master Plan" and "Betcha By Golly Wow" – and the cuts "So Much Love", "Just Imagine", and "We Both Need Each Other". LP, Vinyl record album