A pair of early 70s albums from Tom Rush – back to back on a single CD! First up is the self-titled Tom Rush album for Columbia – maybe the biggest album ever from Tom Rush – a set that pushes the singer strongly past his more folksy roots, and seems to set him up for a bigger career in the 70s mainstream! And yet the record's not commercial at all – done with a laidback instrumental style that moves into rock from folk, with occasional rootsy elements, but passages of softer phrasing that really work well with Tom's vocals too. Titles include "Old Man Song", "Livin In The Country", "Driving Wheel", "Rainy Day Man", "Drop Down Mama", and a really great take on "These Days". Wrong End Of The Rainbow is an album that lets Tom Rush bring in a lot more of his own songs than his Columbia Records debut – a great reminder of the early years of his career, when Tom gave the world a few songs that were picked up and redone by some of his key contemporaries! The style moves Rush even more past folk than before – still done with an intimate sense of instrumentation, which includes plenty of acoustic elements – but handled with phrasing that's very different than it would have been in the 60s, as Rush and his generation find a new way to move forward with more mature modes and a stronger sense of variety. Titles include "Starlight", "Jazzman", "Rotunda", "Biloxi", "Merrimac County", "Wrong End Of The Rainbow", and "Gnostic Serenade". CD

A huge 90s album from Montell Jordan – one that formed a big bridge between the worlds of hip hop and R&B, and which has had some surprisingly strong legs in the years after it was first crafted! Plenty of folks blended hip hop elements with soul, but Montell may well have been one of the few to really knock it out of the park like this – not just with the oft-played title track, but also over the course of the whole record, which blends some more attitude-heavy cuts with others that are emotionally open as well! Montell handled a lot of the production himself, clearly with an ear for his strengths – and titles include the classic "This Is How We Do It", plus "Don't Keep Me Waiting", "Comin Home", "Payback", "Somethin 4 Da Honeyz", "I Wanna", "Gotta Get My Roll On", "Down On My Knees", and "Daddy's Home". CD features bonus tracks – "This Is How We Do It (Puff Daddy radio mix)" and "This Is How We Do It (Funkmaster Flex radio mix)". CD

A rare space funk treasure from the legendary Mandre – the man who'd given the world three great clubby albums on Motown, then retreated to the indie label scene for this much more obscure fourth record! All the great Mandre elements are in place here, but presented with a more stripped-down vibe – one that also echoes the way that funk was getting leaner and more electric in the 80s – which Mandre echoes with his use of beats, basslines, and all sorts of cool keyboards! The low-fi approach maybe makes the record even more enduring than his earlier efforts – with strong links to the contemporary scene – and cuts include "Rain", "Isle De Joie", "Magic Woman", "I'm On Your Frequency", "You're A Freaky Girl" and "Freaky Feeling". CD

Spacey piano work from Jordan De La Sierra – material that's clearly informed by the 60s experiments of La Monte Young and Terry Riley, but which also has a more open, spiritual quality too! The piano has a nice sense of tuning – one that's almost watery at points – and Jordan's in no rush to let the notes unfold, as he often waits for one to resonate out before starting the next – which creates this very spacious, meditative quality throughout – a mode that's also inspired by Indian music, but much more laidbck and North California! The package reproduces the original 2LP set – complete with artwork and original notes. CD

Four full albums from the great Martin Denny – presented here with bonus tracks too! First up is the initial Exotica album – the birth of a sound and the birth of a legend – Martin Denny's first album in the Exotica series, and a record so great it named an entire genre! Denny certainly didn't invent the tropical style of easy listening that came to be known as "exotica" in the 50s – but with a record like this, he delivered the goods better than anyone else – by taking away all the too-sweet styles of Hawaiian music, and serving up a stripped-down, jazzy kind of sound! The album features Denny's classic original quartet – with Arthur Lyman on vibes and Augie Colon on bongos – and titles include "Stone God", "Jungle Flower", "Busy Port", "Lotus Land", and his hit recording of "Quiet Village". Exotica 2 is the second album in Denny's legendary Exotica trilogy – a set of records that provided the extreme definition of the small sub-genre that today has become the stuff of legend! Denny's still working here in his classic format – a small group with heavy piano lines, playful percussion, and some birdcalls sung by the members of the group! The set's a mix of strange songs from strange sources, all given the sublime Denny twist – and titles include "Singing Bamboos", "Escales", "August Bells", "Ebb Tide", "Rush Hour In Hong Kong", and "Soshu Night Serenade". Exotica 3 is sublime late 50s work from Martin Denny – his third album under the Exotica banner, and almost a deeper and weirder album than the other two! The sound here is extremely haunting – even more freed from conventional melody than the rest, and very fixated on the tonal possibilities that could be produced from Denny's unique grouping of percussion, piano, bass, and vibes. There's few tricks or gimmicks on the set – just a spare and other-worldly approach to music that's totally great! Titles include "Manila", "Mama Iti E Papa E", "Bamboo Lullaby", "Ringo Oiwake", "Moon Of Manakoora", "Congo Train", and "Beautiful Kahana". Quiet Village is an undisputed classic in the exotica genre – and the record that yielded Martin Denny his biggest hit! The title track "Quiet Village" was originally written by Les Baxter, but it was Martin Denny's approach that really managed to send the tune over the top – using spare percussion, rhythmic piano, and just the right amount of vibes and bird calls to give the track a really haunting feel. That approach is echoed throughout the set – with shifting instrumentation that includes celeste, bongos, marimbas, and marimbula as well! Titles include "Quiet Village", "Paradise Found", "Sake Rock", "Martinique", "Tune From Rangoon", and "Pagan Love Song". CD features bonus tracks too – "Llama Serenade" and "The Enchanted Sea" and more. CD

The great Harold Mabern kicks it hard with a key core group – then finds a way to open up with some surprise guest artists as well – including singers Gregory Porter, Kurt Elling, Jane Monheit, and Norah Jones! The core of the album features Mabern's piano rocketing out with rhythm from John Webber on bass and Joe Farnsworth on drums – and getting some strong tenor work from the mighty Eric Alexander – and as the set goes on, the group also brings in Jeremy Pelt on trumpet, Peter Bernstein on guitar, and Steve Turre on trombone. But the key force here is the singers – especially Porter and Elling, who seem to find an old school space with the group that really takes them back to their roots. Elling sings on "You Needed Me", "Portrait Of Jennie", and "Billie's Bounce"'; Porter sings on "Afro Blue" and "The Man From Hyde Park"; Monheit sings on "I'll Take Romance" and "My One & Only Love"; and Norah Jones sings on "Don't Misunderstand" and "Fools Rush In". CD also features Alexis Cole on "Such Is Life" – and the instrumental tracks "The Chief", "Mozzin", and "Bobby Benny Jymie Lee Bu". CD

A classic 70s Italian crime soundtrack – presented here in full format for the first time ever, and filled with wonderful tunes in a variety of styles! There's a quality to the music that really matches the badass image on the front – a bold, forceful approach that has the upbeat numbers strutting along with plenty of pride – and which has the mellower, more brooding tracks working themes that are simple, but which pack the same force as the revolver on the cover. Franco Micalizzi uses some great keyboards throughout – often a bit light, with a style that's sometimes veering towards electric harpsichord, but other times in a more Goblin-like mode – almost horror-styled, especially when interwoven with acoustic piano. Tunes build up with force as the soundtrack rolls on – and this CD reissue features a whopping 30 tracks in all – with titles that include "Bloody Robbery", "Rush For A Sign", "Betti's Investigation", "Criminals At Work", "Useless Waiting", "Crime Outcome", "Folk & Violence", "Ten Minutes To One", and the vocal number "A Man Before Your Time". CD

Janelle Monae took a bit of a rest between this album and her last – but given the results, it feels like she's really recharged her groove in that surprisingly long stretch! Not that Janelle needed recharging at all – but there's something here that sets the record apart from earlier chapters in her career – and not in a commercial way, or something that feels like a sidestep – maybe just a bit like Sade after the first few records – able to space out her creative activity, and always keep us wanting more! There's maybe a more down to earth approach here than before – but at a level that makes the whole thing feel more heavenly overall – and Monae works with guests who include Sister Nancy, Seun Kuti, and Grace Jones – on titles that include "The Rush", "The French 75", "Float", "Black Sugar Beach", "Phenomenal", "Ooh La La", "Lipstick Lover", "Paid In Pleasure", "A Dry Red", and "Only Have Eyes 42". CD

An overlooked gem from the German scene of the 80s – at a time when the prog and free jazz experiments of the previous decade had calmed down a bit, yet German musicians were still coming up with lots of new and amazing ideas! Here, there's definitely a bit of inspiration from Brazilian music, but mixed with some of the new generation of vocals from jazz singers like Karin Krog or Monica Zetterlund – handled by singer Beate Kynast on the record, in a way that's light years away from more traditional jazz vocals! There's a fluid, soaring sensibility to the music – modal mixed with post-bossa rhythms, on instrumentation that includes trumpet from Robert Schulte Hemming, alto and flute from Wolfgang Puschnig, keyboards and piano from Martin Kubert, drums from Peter Wirth, and bass from Rudi Engel. Instrumentation has a warm blend of acoustic and electric elements – very much like some of the best Nabel releases, or the sort of work later compiled in the Glucklich series – on titles that include "Rush Hour", "Impressions Of Autumn", "Bluze", "Number Four", Lament", and "Scarcely Had We Left The House". CD

A fantastic document of the first-ever Ann Arbor Blues Festival – the start of a great event that would blossom into other styles of music in the 70s, but which stood as a strong blues-based event in its initial year of 1969! In some ways, the three day series of concerts is a roots answer to Woodstock – which took place just a few weeks before – as the festival featured a great scope of blues talents, from the rootsier sort of artists who were recording for labels like Folkways or Arhoolie, to some of the sharper modern talents rising to the top on Chess or Delmark! The package alone is almost worth the price of admission – beautiful photographs of the event, detailed notes, and the first-ever release of this music – which has sat in the vaults for decades, finally to see the light of day. Titles include "Dirty Mother For You" by Roosevelt Sykes, "So Glad You're Mine" by Arthur Big Boy Crudup, "Everybody Must Suffer/Stone Crazy" by Luther Allison & The Blue Nebulae, "Help Me" by Junior Wells, "I Wonder Why" by Jimmy Dawkins, "Too Much Alcohol" by JB Hutto & His Hawks, "So Many Roads So Many Trains" by Otis Rush, "Long Distance Call" by Muddy Waters, "Off The Wall" by James Cotton Band, "Juanita" by Big Joe Williams, "Jelly Jelly Blues" by Shirley Griffin, "I Feel So Good" by Magic Sam, "Call It Stormy Monday" by T-Bone Walker, "Death Letter Blues" by Son House, "Key To The Highway" by Sam Lay, and "Mojo Hand" by Lightnin Hopkins. CD

The funky third volume of the Living In The Streets series – and easily the best in this great series – a really hard and heavy batch of rare funk tunes that pushes past the cliches of the title to come up with an all-solid batch of tracks that's sure to please any fan of deep funk. Loads of great little groovers from a range of different labels – organ jazz meets heavy soul vocals meets dancing bassline funk, hard drums, heavy riffing, and beyond – all wrapped up together with a sound that never lets up. Tracks include "Mary Jane" by Bobby Rush, "Bustin Outta The Ghetto" by Carlos Malcolm, "I'm A Good Woman" by The Generation, "Dance Girl" by The Mighty Tom Cats, "Peace Love Not War" by Johnny King with The Fatback Band, "The Truth Shall Make You Free" by King Hannibal, "I'm Wishin" by Lorez Alexandria, "I've Known Rivers" by Gary Bartz, "Viva" by Jade, "Seeds Of Life" by East LA Car Pool, "Starvin" by Winfield Parker, and "He Called Me Baby" by Spanky Wilson. CD

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

Not much of a cover or title, but a pretty great little set – and one that features a fair bit of lesser-known gems from years back, despite its claim of classics! The tracks here are all at the higher end of the disco rhythmic spectrum – mostly quite upbeat, with soaring strings and tight instrumental flourishes – very much in the spirit of Paul Sabu, who produced some of the cuts on the set – or some of the bigger hits on TK Records from the time. Titles include "If You Could Read My Mind" by Viola Wills, "I'm Here & I'm Hot" by Vicki Sue Robinson, "Superman" by Celi Bee, "Love Rush" by Ann-Margret, "Do Your Best" by Carl Hahn, "Gimme Back My Love Affair" by Sister Power, "We're Gonna Rock" by Sabu, "Disco Dancin" by Rice & Beans Orchestra, "Magnifique" by Magnifique, and "Don't You Want My Love" by Debbie Jacobs. CD

Hauntingly beautiful work from Yasuko Agawa – a set that has some echoes of older jazz and bossa at points, but also slides out in a smooth 70s soul mode too! As on her previous album, arrangements here are all by Susumu Arima – who also produced – and he's quite a maestro when it comes to the backings, putting together jazzy elements, soft strings, and slight electric touches all at a level that rivals some of the best American soul arrangers of the time. There's a laidback, mellow feel to most numbers that's totally great – and titles include "The Gentle Rain", "I Can Fly", "Sounds Of Love", "La La Means I Love You", "Fools Rush In", "Angel Eyes", and "As Time Goes By". CD

A record that really lives up to its title, given the sweet Philly grooves of the set – a real surprise, given that the album was recorded in Germany! The session's a rare studio project in the early years of the German disco scene – and comes off with the best soulful styles that were bubbling up in the US at the time – clubby instrumental grooves that are filled with soaring strings and tight rhythms – yet served up in ways that are never too overdone! In fact, if you slapped some obscure US label on this one, folks would be more than willing to believe that the set's some underground corner from the New York scene – quite a surprise for a record that was initially cut just for sound library usage. Titles include "City Train", "Alaska Flight", "Skyline", "Night Shift", "Full House", "Star Shot", "Rush Hour", "Sun Ship", and "Flash Point". CD

An album that's gone on to be the stuff of legend over the years – even though the original pressing of the record likely never made it out of the factory! Tinkerbell's Fairydust have this great way of blending harmony pop of the mid 60s with some of the trippier touches of the end of the decade – maybe not as weird and wild as the image on the cover might make you expect, but with a special sort of charm that's definitely all the group's own! There's a few familiar tracks on the record from the Cali scene of the late 60s – but the presentation here is very different, and makes the whole thing sound a lot more like some of the lost Decca UK gems of the time than any records that American labels were issuing. Titles include "Twenty Ten", "Marjorine", "The Worst That Could Happen", "In My Magic Garden", "Never My Love", "Lazy Day", "Every Minute Every Day", "Whole World", and "Happy". CD features 9 more bonus tracks, most of which are a nice prequel to the record – as they were recorded by earlier groups The Rush and Tommy Bishop's Ricochets – tracks that include "I Should Have Known", "Walking My Baby", "Follow Me Follow", "Enjoy It", "Make Mine Music", and "On The Other Hand". CD

A fantastic trip through the archive with Volcov – even if most of the cuts here are a bit more recent than those that usually get archival status! And yet in a way, many of these cuts almost went to the archives directly – especially in this digital age for modern soul and club, where so many great singles and albums don't make it onto vinyl – and fade fast in the fast rush of new music hitting the internet. That's why we love collections like this so much – as Volcov's done a great job of grabbing the best bits from the past decade or so, and weaving them together as a strong reminder of how much wonderful soul music is being created on this planet – most of it still waiting to be discovered. There's a few older bits here, but most tracks are contemporary – and titles include "Caterpillar" by Rebirth, "All That Glitters" by Carleen Anderson, "Let The Music Play" by Collective Peace, "Spiraling Prism" by Ian O'Brien, "Ori Space" by Ron Trent, "Turn It Around (Eric Lau rmx)" by Ruth Koleva, "Planet Birth (Xantone Blacq rmx/Volcov edit)" by Intuit with Andy Bey, "Lawra (Volcov edit)" by Tony Williams, "Blue Room (Kaidi Tatham's shokazulu rmx)" by Quentin Kane & Simon Sheldon with TK Blue, "Finding The Peace" by Skymark, "I Put A Spell On You" by Honey Sweet with Cindy Mizelle, and "After Life (part 2)" by Harry Whitaker. CD

Maybe the greatest moment ever on record from Rudiger Carl – and not just because the album is "dedicated to all drinker friends"! Despite that embrace of alcohol, the record's got a very sobering power – as the group is a free jazz trio, working in the best bracing early FMP way – with Carl on tenor, Gunter Christmann on trombone, and Detlef Shoenenberg on drums – all turning their instruments inside out as they madly, freely, explosively work off the power of one another! Christmann is especially amazing – and this album might well be to his trombone what the late 60s FMP sides were to Brotzmann's tenor – although Detlef's drums are pretty amazing too – very different than any contemporaries or precursors, and worth the price of admission alone. Titles include "Thrombose", "King Alcohol", "AEIOU", and "Rush Hour/Something/Triotrip". Plus, this 2CD reissue adds in an astounding 70 more minutes of unreleased recordings from the same sessions! CD

A great look at a really lost legacy in music from Charlie Rich – obscure sides recorded for RCA Records in the early 60s – done after his initial rush of genius on Sun Records, and before his later commercial success on Epic! Charlie's got one of the all-time great voices in pop music – a richness that easily rivals that of Memphis contemporary Elvis Presley, and which never fully got its due at the time – even though labels like RCA and Smash provided Rich with some fantastic material and production! Charlie's work for Smash has been picked up by the cognoscenti in recent years, and we'd honestly put these RCA tracks right up alongside them – with a similar Tennessee blend of soul and rock, rural and urban – all delivered by Charlie's incredibly charming vocal approach, and recorded with a depth that goes way beyond the usual RCA production modes of the time. There's plenty of currents of soul in the mix – even some New York-styled modes, which really work well with Rich – and this 40 track set is the first time this material has ever been pulled together – long-overdue, and a real treat to our ears! Titles include "Like Someone In Love", "Lady Love", "Nice & Easy", "Big Boss Man", "It's All Over Now", "The Grass Is Always Greener", "Now Everybody Knows", "My Mountain Dew", "The Big Build Up", "She Called Me Baby", "Gentleman Jim", "Christmas Greetings", "All Of My Friends Are Gonna Be Strangers", "Is Goodbye That Easy To Say", "Tragedy", "Ten Dollars & A Clean White Shirt", "Tomorrow Night", and "No Room To Dance". CD

Trumpeter Alex Sipiagin is no newcomer to jazz, but he also seems to have really grown as both a player and a leader in recent years – deepening his sound sound with a sense of color and timing that we've never heard before, and really making the most of his comrades in a combo – especially in a setting like this! The tunes are mostly all originals by Alex, delivered with a strong focus by the quintet – a lineup that also features Diego Rivera on tenor, Art Hirihara on piano and Rhodes, Boris Kozlov on bass, and Rudy Royston on drums and percussion – a group who work with an innate sort of energy throughout, really packing a heck of a lot into a small space – while still allowing for plenty of individual moments of expression! Titles include "Dolphin's View", "Doppio", "Hindsight", "No Doubts", "Rush Hour", "Sandrigo Blues", and "Novorod Bells". CD

An incredible collection of southern soul – and actually way more than the usual CD compilation, and almost instead a time machine back to the glory days of the genre! The set comes in a heavy slipcase, with a huge booklet of notes – not just track-by-track stories on all the 75 songs in the package, but also beautiful vintage images of the southern scene from which these deep soul tracks come – great photographs that are a great accompaniment to the often-narrative tracks in the set. The music is a mix of tracks from southern soul giants, and some key lesser-known acts – and as you'd expect from Kent, the whole thing goes way past the hits – and features plenty of obscure numbers too. Titles include "A Sad Sad Song" by Charles Crawford, "Mary Jane" by Bobby Rush, "If Loving You Is A Crime" by Lee Moses, "Go On Fool (ext)" by Marion Black, "Someone To Take Your Place" by Bill Locke, "I Got Everything I Need" by Eddie Floyd, "I've Got Memories (demo)" by Melvin Carter, "Give Me Back The Man I Love" by Barbara West, "Somebody Done Gone Took My Baby & Gone" by Joey Gilmore, "Depend On Me" by Steve Dixon, "Going Back Home" by Ground Hog, "Just A Touch Of Your Hand" by Al Gardner, "Sure As Sin" by Jeanie Greene, and "Please Don't Desert Me Baby" by Gloria Walker & The Chevelles. CD

A much-needed look at the production genius of Martin Rushent – a UK studio genius who started out in punk, then really helped the scene find new sounds and styles as the 80s moved in! Rushent is sometimes confused with the other great Martin of the period – producer Martin Hannett – and although his style is a bit different, there is a similarity – as Rushent, like Hannett, is a bit of an outsider, and really takes a fresh approach to recording the news music of the moment – never trying to drape it in older styles from previous eras, which really allows some of the crispness of the younger acts to really shine through! As the 80s move in, Rushent also shows a great ear for some of the right electronic touches, yet never in a way that was overly commercial – a balance that really comes out strongly on the second half of the set. As with other entries in this great producer series from Ace, the notes are fantastic – really digging deep into each track, with a 19 title set list that includes "Autonomy" by The Buzzcocks, "Hard Times" by Human League, "Homicide" by 999, "Hold On" by Ian Gomm, "Kiss Me Deadly" by Generation X, "Get A Grip On Yourself" by The Stranglers, "Tonight" by Rachel Sweet, "Guitar Beat" by The Raybeats, "I Could Be Happy (Martin Rushent rmx)" by Altered Images, "A Way You'll Never Be (12" version)" by Leisure Process, "Working Girl" by The Members, "Beneath The Blue Sky" by The Go Gos, "Breakfast" by The Associates, "Steamhammer Sam" by Intaferon, "Je Suis Passee (7" version)" by Hard Corps, "The Big Sweep (club mix)" by Then Jericho, and "Are You Receiving Me" by XTC. CD

A really great collection – five full albums from keyboard giant Patrice Rushen, plus bonus tracks too! First up is Patrice – her first album for Elektra, and a stunning blend of funky jazz and soul! The record really has Patrice stepping out from her earlier years at Prestige – working in some surprisingly great vocals next to tight lines on Fender Rhodes, synth, and clavinet, handled with a smooth and soulful quality that's wonderful all the way through – a blend of soul and jazz that few other players could do this well – no matter how many others tried to copy her style over the years! Rhythms are as hard and heavy as on the Prestige years, and the keyboards have a great sort of focus too – just the right mix of jazz to offset the vocals – which themselves are a wonderful discovery. The whole album's a gem – and tracks include the great funky classic "Hang It Up", plus "Changes (In Your Life)", "When I Found You", "Play", "Didn't You Know?", and "Music Of The Earth". Pizzazz is one of the records that not only helped break her out of the jazz funk ghetto, and right into the mainstream – but a set that also had a pretty profound influence on the progression of soul in the early 80s! Rushen sings as well as plays keyboards – and really pushes the use of jazzy elements that would take R&B to the next level – almost inventing the 80s groove sound in the process! The whole thing's a totally sweet mix of funk and soul, tightened up to get everything in the door at the same time – and titles include "Givin It Up Is Givin Up", "Call On Me", "Haven't You Heard", and "Let The Music Take Me". Posh is an all-out, all-access affair – a great way for anyone to get into the grooves of the mighty Patrice Rushen! Patrice is at the height of her powers here – equally magic on keyboards and vocals, and coming up with groove after groove in a sublime blend of 70s jazz funk and Minnie Riperton-esque soul! The whole album's a winner – real magic that never gets old, and the kind of LP that makes you understand why you'll find Patrice's records in just about any soul collection from the time! Tracks include "I Need Your Love", "Time Will Tell", "The Dream", "Never Gonna Give You Up", and "Don't Blame Me". Straight From The Heart is one of those albums that completely cemented her standing in the world of jazz, funk, and soul – and a wonderful summation of everything she'd done in the years before! The young Patrice was already a breakout keyboardist on the west coast scene of the mid 70s – turning out great work on her own, and adding her talents to plenty of others – but here, she emerges as a soaring soul star in her own right – a talent who's really worked her way up, with a quality level that's head and shoulders above most of her peers! Rushen produced the set with Charles Mims, and there's a righteous blend of jazz and soul that's at the level of Minnie Riperton, so that even the catchiest cuts come off with a sense of sophistication and warmth that's so different than so much other 80s soul and fusion. Titles include the classic "Forget Me Nots", plus "Number One", "I Was Tired Of Being Alone", "Where There Is Love", "Breakout", "If Only", and "Remind Me". The album Now is a masterpiece of 80s groove with lots of jazzy touches! The keyboard sound has evolved a bit here – compressed with more electronic percussion than on Patrice's earlier records, but still done with a degree of soul that sets it apart from work by most of her contemporaries – and the music has this warm flow that really sets Rushen apart from the rest – a sublime mix of soul, funk, and fusion that holds together perfectly throughout! Titles include "Gotta Find It", "Gone With The Night", "My Love's Not Going Anywhere", "High In Me", "To Each His Own", "Heartache Heartbreak", and "Feels So Real". 5CD set features bonus tracks from original 12" singles – and other remixes too! CD

One of the most spiritual albums to come from the young AACM movement in Chicago – a session that's somewhat equal in expression to some of the best post-Coltrane work on Impulse Records! Maurice McIntyre plays here with a sound that's already fully formed – an approach to the tenor that's as searingly human as that of Pharoah Sanders or Albert Ayler – but which is also played with a sharpness at times that recalls a young Marion Brown. The rest of the group is equally well-matched – a tremendous array of talent from the Chicago scene, with Malachi Favors on bass, Thurman Barker and Ajaramu on drums, Leo Smith on trumpet and flugelhorn, John Stubblefield on soprano sax, and Amina Claudine Myers on piano. George Hines vocalizes a bit on a few tracks – singing in a spiritual tone that's somewhat like Leon Thomas, but much freer and more abstract – and the album beautifully balances shorter musical statements with a fuller suite on side two – showing the deeper, more ambitious expressions that were starting to well up in the AACM. Titles include the tremendous "Humility In The Light Of Creator", plus "Hexagon", "Kcab Emoh", "Pluto Calling", "Life Force", and "Suite – Ensemble Fate". CD also features a bonus version of the title track! CD

The rare second album from Clydie King – recorded at a time when she was lending her backing vocals to artists like The Rolling Stones, Steely Dan, and Humble Pie – but a set that firmly puts Clydie in the lead! King's got an amazing style of singing – deep and raspy at one moment, with key southern soul roots – yet also totally tight and together, too – with a focus that really shines on the album's more upbeat tracks – groovers that almost have an east coast club vibe at times, quite similar to material that Clydie recorded with the group Brown Sugar! Titles include "Rushing To Meet You", "Loving You Is So Easy", "Steal Your Love Away", "Punish Me", "Our Love Is Special", and "Morning Sun". CD

If you need to own one album by Average White Band, this is it! The album features the band at their funky best – playing hard and chopping away with a strong crossover sound that put them firmly on the map during the early 70s. Loads of tight rolling basslines and hard drums – all produced with that polished funky sound that was the band's stock-in-trade during the big chart years! The record includes their funky classic "School Boy Crush", still a sampling favorite – plus loads of other nice moments, like "If I Ever Lose This Heaven", "Cloudy", "High Flyin Woman", and the hit title cut "Cut The Cake". CD features bonus single mixes of "If I Ever Lose This Heaven" and "How Sweet Can You Get". CD

A raw, live set from Chicago saxophonist David Boykin – but a great little record that really reminds us of a classic 60s session on ESP! Boykin's reeds are wonderful throughout – filled with the depth of soul we might expect from Kalaparusha or Albert Ayler – and set up here in an open-ended trio with Josh Abrams on bass and Andre Beasley on drums. The tracks are all quite longish and free – but never sloppy or overindulgent – held together with a tremendous focus and presence in Boykin's horn! Titles include "Victory Honor & Glory", "Conundrum", "Big & Fine", "The King", and "Meditation For Momma Long". CD

A great live set from Ella Fitzgerald – one that's never been issued before, but which stands nicely next to some of her Verve releases of this nature, especially her previous Ella In Berlin record! The group here is a quartet – with great piano from Lou Levy, who's a wonderfully sensitive accompanist in all the right spots – plus guitar from Herb Ellis, bass from Wilfred Middlebrooks, and drums from Gus Johnson – an easily-grooving group who really let Fitzgerald open up with a soulfully swinging sound! Titles include a great take on "Mack The Knife", a seven minute reading of "St Louis Blues", and the titles "I've Got A Crush On You", "Lorelei", "Won't You Please Let Me In", "Too Close For Comfort", "That Old Black Magic", and "Lover Come Back To Me". CD

A standout classic from trumpeter Luis Gasca – and a set that may well be the artists' most complete musical vision of the 70s! The group here is larger than on previous records, and Gasca's dropped a bit of his Latin roots in exchange for a soaring, slightly spiritual sound put together by arranger Don Menza – who's really at the top of his game here! There's a perfection and poise that's almost like CTI or Kudu at their best – almost a bit above the usual Fantasy Records session like this from the 70s, too! Other players include Bobby Hutcherson on vibes, Menza and Hadley Caliman on reeds, Patrice Rushen on keyboards, and Harvey Mason on some mighty nice drums – which makes for more than a bit of funk in the mix. Titles include the sweet vibes/Rhodes number "Kathy", the stepper "Sara", and the tracks "Visions", "The Way I Feel Sometimes", "Patrice", "Collage", and "Night People". CD

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

A trio of Columbia Records sets from Jean-Luc Ponty – served up here in a single package! First up is Gift Of Time – a set that really shows him embracing keyboards much more than at the start of his career – even though he also still turns in plenty of great jazzy sounds on violin! Ponty often seems to be mixing both – using the keyboards to augment inflections in the violin – at a level that makes you feel like he's not using the older stringed instrument at all during some sections, even though it's there in the mix. The set's got a vibe that very much fits with its cover – somewhat lean, with guitar from Pat Thomi, bass from Baron Browne, and percussion and drums from Rayford Griffin. Titles include "Faith In You", "New Resolutions", "No More Doubts", "Metamorphosis", and "Introspective Perceptions". Storytelling is a set that has Jean-Luc Ponty really staying on top of his fusion game – part of that ever-evolving run of records that took the European musician from early straight jazz violin records in the 60s, to the height of American jazz crowds in the 70s and 80s! Here, Ponty continues his exploration of various keyboard modes, while also folding in warm work on electric violin – a blend that's surprisingly seductive, and augmented along the way with guest work from Grover Washington on soprano sax, and Patrice Rushen on additional keyboards. The core group also has guitar from Jamie Glaser, and piano and more keyboards from Wally Minko – on titles that include "Tender Memories", "In The Fast Lane", "After The Storm", "The Amazon Forest", "A Journey's End", and "Pastoral Harmony". Tchokola is a very different record than usual for Jean-Luc Ponty – as you maybe can tell from the global-styled image on the cover! This time around, Ponty's bringing in some key elements from African music – plenty of live, acoustic percussion, which makes for a really great blend with the warmer keyboard and electric violin styles he's normally known for! The percussion was recorded at an analog level, which helps it retain its warmth – a great mix of balafon, tama, sabar, bongos, and other instruments – plus some nice use of kora too. There's also some vocals on the record – sung by Angelique Kidjo and Myriam Betty – and titles include "Yeke Yeke", "Rhum N Zouc", "Cono", "Bottle Bop", "Tchokola", "Sakka Sakka", and "Mouna Bowa". CD

Three wonderful albums from this legendary Brazilian singer – all presented in a single set! First up is Nothing Will Be As It Was Tomorrow – a record that's quite different from Flora's earlier work, but in a way that we find very compelling! The record was produced by Leon Ndugu Chancler, and it's got a smooth fusion sound that's kind of in a southern California R&B mode, played by a huge range of excellent Brazilian and west coast talents that include Patrice Rushen, Dorothy Ashby, Fred Jackson, Raul De Souza, Toninho Horta, and Airto. While this sound overwhelms the core of Flora's usual Brazilian jazz approach, it also expands some of the tracks to a great groove – with Flora's vocals on top, stretching out in a whole new way! Includes a great English language version of the Milton Nascimento classic "Nada Sera Como Antes", plus the cuts "You Love Me Only", "I'm Coming For Your Love", "Corre Nina", "Angels", "Bridges", and "Fairy Tale Song". Every Day Every Night is a beautifully soulful record from Flora Purim – still awash with touches from her Brazilian roots, but also done with a great 70s LA sound! Airto's helping Flora out on production, but the real hero here is Michel Colombier – who handles most of the arrangements and wrote a good deal of the tunes with Purim and Airto – mixing his own expansive studio talents with their organically-forged groove, in a way that makes the record a real standout from the California fusion scene of the 70s! Players include Randy Brecker, Lee Ritenour, George Duke, Herbie Hancock, Harvey Mason, and other jazz heavyweights – and titles include "The Hope", "I Just Don't Know", "In Brasil", "Blues Ballad", "Why I'm Alone", "Walking Away", and "Samba Michel". Carry On is one of Flora Purim's more R&B-sounding albums from the 70s, produced by George Duke with an appreciation for Flora's Brazilian jazz roots, but with a smoother sound that's in keeping with Duke's own work of the time! The combination is pretty sweet – a professional culmination of the mixture of fusion and Brazilian jazz that had been happening in the San Francisco scene during most of the 70s, and featuring many of the musicians who had helped make that groove so strong. Players include Airto, Sheila Escovedo, Joe Farrell, Ronnie Foster, Bobby Lyle, and Larry Williams – and tracks include "Niura Is Coming Back", "From The Lonely Afternoon", "Freeway Jam", "Beijo Partido", "Corine", and "Love Lock". Includes bonus tracks too – "Tango Blues" and "Sad Song". CD

A heavy dose of funky jazz – and one that goes way past the obvious too – to include some real gems from the 70s that even we'd passed up! The package is filled with stellar jazz from the Fantasy Records family – Prestige, Pablo, Galaxy and Fantasy proper – choice numbers by The Blackbyrds, Stanley Cowell, Charles Earland, Patrice Rushen and others – funky jazz, soul, boogie and Brazil-flavored numbers from the top shelf of the diverse period! It's a tight, well chosen compilation with numbers you simply could not overlook in putting a set like this together – productions by the Mizells, Donald Byrd, Earland and others – but there's a few of leftfield choices, too. Simply a great little snapshot of the funky jazz and soul period and the family of labels that generated so much of the most creative music to come from it! 14 tracks and nearly 80 minutes of grooves: Includes "Happy Music" by Blackbyrds, "Close To You" by Marlon McClain, "Let Me Love You (Let Me Be Me)" by Stanley Cowell, "Taj Mahal" by Paulinho Da Costa, "Nov Ano" by Azar Lawrence, "Moon Dreams" by Flora Purim, "Montevideo" by Opa, "Glide" by Pleasure, "Shout It Out" by Patrice Rushen, "If Only I Could Prove To You" by The 3 Pieces and more. CD

A huge dip into the history of hip hop – in a set that's something of a groundbreaking effort from the folks at the Smithsonian! If we're honest, we'll tell you that we're old enough to remember a time when folks thought that hip hop was just a fad – when it was a musical style that would disappear in just a few short years. But now, all these many decades later, the form has had such an impact on American culture that the Smithsonian Institute is giving it some official sort of due – something we never would have believed back in the 80s! The package is huge – 9CDs with a whopping 129 tracks in all, and a 300 page book that supports the recordings with an insane amount of notes, photos, and all sorts of other information – alongside a track list that was put together by folks who include Questlove, 9th Wonder, Chuck D, Jeff Chang, and MC Lyte! The set is especially great on old school tracks up through the golden era hip hop years – but also moves into the 21st century too – and artists include Treacherous Three, Afrika Bambaataa, Fearless Four, Cold Crush Brothers, Herbie Hancock, Run DMC, Fatback, Sugarhill Gang, Kurtis Blow, Funky Four +1, T La Rock, Schoolly D, Beastie Boys, Kool Moe Dee, LL Cool J, Eric B & Rakim, Mantronix, Stetsasonic, Audio Two, Big Daddy Kane, MC Lyte, Marley Marl, Tone Loc, Jungle Brothers, NWA, Public Enemy, Slick Rick, 3rd Bass, De La Soul, Queen Latifa, DOC, 2 Live Crew, Dr Dre, Sir Mix A Lot, Digable Planets, Positive K, Pete Rock & CL Smooth, Naughty By Nature, Black Sheep, Tribe Called Quest, Geto Boys, Pharcyde, 2Pac, Warren G, Gang Starr, Notorious BIG, and many many more! 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

A sweet 80s groover throughout – the only album we've ever seen by this keyboard-heavy quintet, served up in a flurry of catchy catchy tunes! Keys on the set are handled by producer/arranger Michael Stokes – who's very clearly in charge of the voices of the group – giving them real focus on the album's mix of uptempo groovers and a few mellower cuts, sometimes even underscoring things with a groove that's verging on electro! Stokes also handles the keyboards, but Patrice Rushen is on the set on piano – warming things up nicely – and titles include the great midtempo stepper "Give Me Your Love", plus "Bottom Line", "Rise Up", "Keep On Rockin", "My Sunshine", "Coo Coo Kachu", and "I Never Thought I'd Love Again". CD also features a bonus extended mix of "Give Me Your Love". CD

A trio of albums from this great modern piano giant! Progressive is excellent work from pianist Don Friedman – a set that's definitely progressive, but which also has a heck of a lot of warmth too – that fantastic balance of new ideas and lyricism that made Friedman one of the freshest pianists to emerge in the 60s, and which continued strongly through the course of later records like this! The trio features Frank Luther on bass and Billy Hart on drums – both players who can move openly with Friedman, yet keep things swinging too – a balance that's maybe not instantly heard on record – in ways that are better than we could ever hope to put in words. Titles include "Billie's Bounce", "Stella By Starlight", "What Are You Doing The Rest Of Your Life", "Moment's Notice", "I Remember You", and "All The Things You Are". Invitation is a set that's filled with standards, but really opened up in that amazing way we've come to expect from the great pianist Don Friedman! The record's maybe a bit down to earth in its overall setting than some of Don's other dates from the 70s, but right from the start, Friedman finds a way to leave his mark on the tunes – working with excellent bass from George Mraz, and drums from Ronnie Bedford – the latter of whom is a great drummer who brings a surprising crackle to the record at times! Titles include great versions of "Invitation" and "Little Boat" – plus "You Go To My Head", "It Could Happen To You", "Gone With The Wind", and "I Can't Get Started". On The Composer, Don Friedman's acting as a composer as well, and is set up in a nicely different setting! The album features a core group with Martin Wind on bass and Joe LaBarbera on drums, augmented by a string quartet who bring a wonderful sense of flavor to the music – opening up all the fantastic colors and tones in Don's tunes – almost amplifying his wonderful work on the piano, and never getting in the way of the jazz aspect of the record at all! The feel is very different than a "with strings" session – almost as if there's an extra paintbrush in Friedman's toolbox – and on a few tracks, the group is also joined by the baritone sax of Gary Smulyan, who further deepens the colors of the record. Titles include "Summer's End", "Friday Morning", "Waltz For Marilyn", "Red Sky Waltz", "Delayed Gratification", and "Memory Of Scotty". CD

The hands of Webster Lewis are on a classic Fender Rhodes on the cover – and you'll hear plenty of that instrument on this collection, along with all the other many keyboards that Lewis can handle so well! Webster started out as a straighter jazzman in his early years, but by the time of these tracks he was at the top of his game in the world of soulful fusion – picking up a torch first lit by Herbie Hancock and Ramsey Lewis, and blending it with more influences from soul music too – which means that in addition to great keyboard solos from Lewis, you'll also hear wonderful vocals on most of these cuts – a key element that really helped Webster cross over into so many worlds at the time. As with work from the same period by Patrice Rushen, there's a sublime blend going on here – one that still sounds tremendous all these many years later, and which is presented with a great selection of cuts – including the rare "Japanese Umbrella" and "Boston" – plus "El Bobo", "Barbara Ann", "Hideaway", "Give Me Some Emotion", "Dancer", "Do It With Style", "Let Me Be The One", "Touch My Love", "Reach Out", "Love Won't Harm No One", and "There's A Happy Feeling". CD

Lakecia Benjamin has become one of the most unique saxophonists in jazz over the course of her past few records – an artist who can hit deeply spiritual tones when she wants to, but one who's also got a strong sense of soul – able to mix inspirations from the farther reaches with some warmer, straight-ahead grooves – all at a level that's got her hitting strongly in both the worlds of jazz and R&B! Here, Lakecia really expands her palette – blowing the alto pictured on the cover, but also adding in keyboards and shaping the overall sound of the set with the ear of a great producer – in a core lineup that features Victor Gould on Fender Rhodes and organ, EJ Stickland on drums, and Josh Evans on trumpet – with plenty of guest work throughout, including appearances from Dianne Reeves, Patrice Rushen, Georgia Anne Muldrow, and even the great Angela Davis! Titles include "Moods", "Rebirth", "Trane", "Amerikkan Skin", "New Mornings", "Phoenix", "Jubilation", "Basquiat", and "Supernova". CD

Sweet Lucy, and mighty groovy – 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". CD

Wonderful work from the great John Holt – a Jamaican singer who managed to find a real way to weave connections between reggae and the sweeter side of soul music in the 70s – often at a level that had John taking on songs from the American scene and making them sound even better with a reggae groove! Yet the work of Holt also goes way past that formula used on some of his hits – as you'll hear on this massive collection that offers up some of the greatest cuts he recorded for Trojan Records, plus some nice surprises along the way. Most of the tracks have a loping midtempo groove that's perfect for Holt's vocal approach – and the 2CD set features 50 tracks in all, with titles that include "Stealing Stealing", "I Wanna Dance", "Help Me Make It Through The Night", "Sister Big Stuff", "Stick By Me", "Ali Baba", "You Baby", "The Tide Is High", "Let's Build Our Dreams", "Sweetie Come Brush Me", "Wild Fire", "I'll Be Lonely", "My Heart Is Gone", "Strange Things", "My desire", "I'll Take A Melody", and "Time & The River". CD