One of the more interesting later sessions from the Art Ensemble – one in which the group push their African influence strongly, by teaming up with the Amabutho Male Chorus for a real Soweto soul sound! Oddly, the Art Ensemble are the ones in African garb on the cover – while the chorus is going more for a late 80s American male fashion look – but in the grooves of the record, the two units come together nicely – and make for a set of tunes that have the AACM sound heading way way past Graceland (that's a Paul Simon/Ladysmith Black Mambazo reference, not an Elvis one!) – really coming up with some compelling cross-cultural sounds in the process. Titles include "African Woman", "Coming Soon", "Black Man", "Fresh Start", and "The Bottom Line". CD

Funky African work from Fred Fisher – a Nigerian trombonist who crafted his own unique groove at the end of the 70s! Fred both sings and plays trombone – the latter with a Fred Wesley-like soulfulness – and his rhythms here are really wide-ranging, and embrace a host of new styles coming into play at the time – including a fair bit of influences from American soul! Some cuts have a rootsy groove, while others move into tighter dancefloor territory – never in a commercial style at all, but with traces of boogie and other 80s modes in the mix. Vocals are sometimes in English, which furthers the global appeal of the music – and the set brings together tracks from 4 different albums by Fisher. Titles include "Say The Truth", "Asa Sa", "Iye Ye Mu Elediamemisise", "No Way", "Let Love Free", "WTFS", "Beautiful Dancer", "Happy Blue Night", "The Beginning Ishan", "Ehimedede", "Babajoo", and "Ebi Lolo". 2CD set features 20 tracks in all. Note: The music on the whole set is great, but there are a few tracks that suffer sound-wise from some distortion in the masters used. Most of the other tracks are fine, though. CD

Funky African work from Fred Fisher – a Nigerian trombonist who crafted his own unique groove at the end of the 70s! Fred both sings and plays trombone – the latter with a Fred Wesley-like soulfulness – and his rhythms here are really wide-ranging, and embrace a host of new styles coming into play at the time – including a fair bit of influences from American soul! Some cuts have a rootsy groove, while others move into tighter dancefloor territory – never in a commercial style at all, but with traces of boogie and other 80s modes in the mix. Vocals are sometimes in English, which furthers the global appeal of the music – and the set brings together tracks from 4 different albums by Fisher. Titles include "Say The Truth", "Asa Sa", "Iye Ye Mu Elediamemisise", "No Way", "Let Love Free", "WTFS", "Beautiful Dancer", "Happy Blue Night", "The Beginning Ishan", "Ehimedede", "Babajoo", and "Ebi Lolo". 2LP set features 12 tracks in all. Note: The music on the whole set is great, but there are a few tracks that suffer sound-wise from some distortion in the masters used. Most of the other tracks are fine, though. LP, Vinyl record album

A great trio setting for the tenor of Rodrigo Amado – always a treat, but especially nice here in the company of bassist Goncalo Almeida and drummer Onno Govaert – both players who have this open, elliptical way of building things up alongside Amado's lead! The tenorist has a richly soulful sound throughout, and the way the bass and drums are used is a nice evolution past both early American avant modes and later European free jazz styles – rich in sound, but never too bombastic – while freed from rhythm, but also very respectful of the tenor too. Titles include "Outer Fields", "Love Ghosts", "Encounter", and "New Tone". CD

An overdue reunion for Brian Auger and Julie Driscoll (now billed as Tippetts) – and a late 70s session that sounds quite a bit different than their mod soul of the 60s! The format here is still somewhat in a soul-based vein – but the sound is much more 70s, and much more "adult" as well – sometimes smooth, sometimes mellow, with Julie singing in a way that's still heartfelt, but not with the clear nod to American soul of her earlier work. Brian's still playing plenty of keyboards, although not getting in as many licks as on his own albums of the decade – yet still with enough space to help transform some of the best tunes. Titles include "Git Up", "Freedom Highway", "Spirit", "Future Pilot", "Rope Ladder To The Moon", "No Time To Live", and "Nothing Will Be As It Was" – a great English remake of a song by Milton Nascimento! CD

An overdue reunion for Brian Auger and Julie Driscoll (now billed as Tippetts) – and a late 70s session that sounds quite a bit different than their mod soul of the 60s! The format here is still somewhat in a soul-based vein – but the sound is much more 70s, and much more "adult" as well – sometimes smooth, sometimes mellow, with Julie singing in a way that's still heartfelt, but not with the clear nod to American soul of her earlier work. Brian's still playing plenty of keyboards, although not getting in as many licks as on his own albums of the decade – yet still with enough space to help transform some of the best tunes. Titles include "Git Up", "Freedom Highway", "Spirit", "Future Pilot", "Rope Ladder To The Moon", "No Time To Live", and "Nothing Will Be As It Was" – a great English remake of a song by Milton Nascimento! LP, Vinyl record album

A really mind-expanded set from keyboardist Brian Auger – and a record that has him stepping out of the 60s shadows of American jazz and R&B, into a groove that's much more solidly his own! Auger's really finding his sound with the Oblivion Express group here – bringing in a bit more influences from rock and fusion, and going for a progressive sound that still steps out with plenty of jazzy changes, and the kind of tight keyboards that always made Auger one of the best players on the British scene. The guitar's a bit more up in the mix than on previous records, but Auger's keys still dominate the solo space – and titles include the stretched out jammer "A Better Land", plus "Dawn Of Another Day", "Marai's Wedding", "Trouble", "Woman Of the Seasons", and "Tomorrow City". LP, Vinyl record album

The third album from Brian Auger & The Trinity – and the first to feature the group recording without vocals from Julie Driscoll! The sound here is just as soulful as before – a tight take on American soul jazz and funky soul of the 60s – pushed along by Auger's mighty work on the Hammond organ, and featuring (this time around) some male lead vocals, which seem to give the album an even deeper feel than earlier work! Auger's included some great covers of American tunes like "I Want To Take You Higher", "Listen Here", and "Maiden Voyage" – all redone with some great Brit beat group touches – and the album also features a great take on Faure's "Pavane", and Auger's own "Just You Just Me". LP, Vinyl record album

Four incredible albums from Hammond legend Brian Auger – a key link between jazz and the headier sounds of the UK scene at the end of the 60s! First up is Open – one of the amazing early albums from the team of Julie Driscoll and Brian Auger – kind of a next-generation to the Brit beat group sound of the mid 60s – one that moves beyond simple R&B modes, to bring in more sophisticated soul and jazz touches! Driscoll's vocals are amazing – some of the boldest belted out in the British scene at the time – and Auger's Hammond work really cooks throughout – at a level that easily makes him one of the best UK organists to hit the scene, amidst some very heady company in the 60s. There's a few bluesy moments, but our favorites are the funky ones – especially the group's reading of "Season Of The Witch", which is tremendous. Other cuts include "In & Out", "Black Cat", "Goodbye Jungle Telegraph", and "Break It Up". Definitely What is a landmark batch of funky organ work that made big waves in both the rock and jazz worlds at the time! Auger's really stretching out here – getting past the simple R&B of his roots, and going into a bubbling funky style that's clearly touched by chromatic inspirations from Wes Montgomery and Jimmy Smith – both of whom are referenced by some of the song structures on the set. The album's filled with killer organ-based instrumentals – some lean and stripped down, others full and rich – and all of them coming across with a richly soulful sound that you'd hardly expect from a member of the British rock scene! Titles include "Day In The Life", "Red Beans", "Definitely What!", and his classic "Bumpin' On Sunset". Streetwise is filled great funky grooves by the legendary Trinity group – featuring excellent keyboard work by Brian Auger, recorded during the period when he was really beginning to stretch out a bit, and hit a much more open-ended kind of sound. Julie Driscoll is still on vocals, singing in her raw sound, but Brian's Trinity group gets a fair number of nice instrumental moments on the set – which are greatly appreciated! Titles include the classic and sample laden "Light My Fire", "Czechoslovakia", "Finally Found You Out", "In Search Of The Sun", "Ellis Island", "I've Got Life", and "Save The Country". Befour is the third album from Brian Auger & The Trinity – and the first to feature the group recording without vocals from Julie Driscoll! The sound here is just as soulful as before – a tight take on American soul jazz and funky soul of the 60s – pushed along by Auger's mighty work on the Hammond organ, and featuring (this time around) some male lead vocals, which seem to give the album an even deeper feel than earlier work! Auger's included some great covers of American tunes like "I Want To Take You Higher", "Listen Here", and "Maiden Voyage" – all redone with some great Brit beat group touches – and the album also features a great take on Faure's "Pavane", and Auger's own "Just You Just Me". LP, Vinyl record album

Funky genius galore – a massive package that brings together both the complete studio and live recordings by the Average White Band – plus some great surprises as well! The group are the stuff of legend – an overseas combo, but one with a groove so tight they were able to get plenty of play on American soul radio stations back in the 70s – and continued to live on long and strong for decades afterwards, thanks to heavy samples of their music by other generations, and a longtime love of their groove by fans of classic funk and soul! And even into the 80s, the group continued to sound great – shifting to a cool, compressed groove that made for some excellent steppers – while still sticking to the funk at their core. The box set contains all of that work, and more – all studio albums, and their double-length live set – plus a full bonus CD of mixes and rarities too. Titles include the CD debut of On The Strip – plus the albums Show Your Hand, Average White Band, Put It Where You Want It, Cut The Cake, Soul Searching, Person To Person, Benny & Us, Warmer Communications, Feel No Fret, Shine, Volume 8, Cupid's In Fashion, and Selected 12" Mixes & Rarities. 133 tracks in all – with a bonus book of images and text, including reflections on the music from the group's Hamish Stuart and Alan Gorrie. CD

Pre-ESP Records work from the legendary Albert Ayler – and a really special set that definitely shows his strong ties to a previous legacy of African-American music! Ayler always clamed blues and other roots in his sound, but didn't always show them as clearly – given his free-thinking, forward-moving approach – yet this set has Albert really reworking an older influence, by taking older songs from gospel and secular sources, and using them as a completely compelling springboard for his new ideas on tenor and soprano sax! The album's the sort that David Murray might have cut in the mid 80s – but conceived by Ayler two decades before – and sadly unissued for years after its recording, possibly because it's a very sensitive, soulful set that's different than the frenetic power of later albums on ESP. A real treasure throughout – with work from Call Cobbs Jr on piano, Henry Grimes on bass, and Sonny Murray on drums – on titles that include "Swing Low Sweet Chariot", "Deep River", "Goin Home", "Ol Man River", "Down By The Riverside", and "Nobody Knows The Trouble I've Seen". CD

Pre-ESP Records work from the legendary Albert Ayler – and a really special set that definitely shows his strong ties to a previous legacy of African-American music! Ayler always clamed blues and other roots in his sound, but didn't always show them as clearly – given his free-thinking, forward-moving approach – yet this set has Albert really reworking an older influence, by taking older songs from gospel and secular sources, and using them as a completely compelling springboard for his new ideas on tenor and soprano sax! The album's the sort that David Murray might have cut in the mid 80s – but conceived by Ayler two decades before – and sadly unissued for years after its recording, possibly because it's a very sensitive, soulful set that's different than the frenetic power of later albums on ESP. A real treasure throughout – with work from Call Cobbs Jr on piano, Henry Grimes on bass, and Sonny Murray on drums – on titles that include "Swing Low Sweet Chariot", "Deep River", "Goin Home", "Ol Man River", "Down By The Riverside", and "Nobody Knows The Trouble I've Seen". LP, Vinyl record album

A huge 2CD set – one that features important European work that saxophonist Albert Ayler recorded with trumpeter Don Cherry! CD1 brings together six tracks from Albert Ayler's Hilversum Radio sessions from 1964 – plus an additional three tracks recorded in Denmark a few months earlier! The first six titles are a famous performance by a famous group set loose on a European tour in 1964 – Ayler on tenor, Don Cherry on cornet, Gary Peacock on bass, and Sunny Murry on drums – recorded in The Netherlands for a small audience in a Dutch radio studio! The setting is a wonderful one – a mix of the live freedoms that would really let Ayler stretch out – especially when playing overseas – but recorded with the clarity of some of his studio albums for ESP – that sharp-edged sound that really highlights the groundbreaking style of his playing! The rest of the group here is equally great, and Murray is completely freed up from rhythm at points, to fly beautifully with the rest – on titles that include "Angels", "CAC", "Infant Happiness", "Ghosts", and "No Name". The same group performs on the final three tracks – recorded in Copenhagen for Danish Radio, with an equally great level of clarity – on "Saints", "Spirits", and "Vibrations". The interplay between Ayler and Cherry is especially great – echoing the latter's material with Ornette Coleman, but with a different sort of edge! CD2 features amazing live material from 1964 – work that was recorded at the Club Montmartre in Copenhagen, right around the same time that Albert Ayler recorded his album for Debut Records – and a set that has his quartet in even more firey formation overall! The tracks are long, and Ayler is completely unbridled – at a level that really shows not only how much of a leader he was to the American avant underground, but what an inspiration he was to the European free scene too – who could only help but take a big cue from his work here on tenor! The group also features equally wonderful work from Don Cherry on cornet – sounding quite different than when with Ornette Coleman – plus bass from Gary Peacock, whose dark tones really set the mood – and drums from Sunny Murray, who is also at an explosive point in his career. The material is remastered wonderfully, with permission from Albert Ayler's estate – and titles include "Mothers", "Saints", "Vibrations", Spirits", "Children", and a shorter "Spirits". CD

A huge 2CD set – one that features important European work that saxophonist Albert Ayler recorded with trumpeter Don Cherry! CD1 brings together six tracks from Albert Ayler's Hilversum Radio sessions from 1964 – plus an additional three tracks recorded in Denmark a few months earlier! The first six titles are a famous performance by a famous group set loose on a European tour in 1964 – Ayler on tenor, Don Cherry on cornet, Gary Peacock on bass, and Sunny Murry on drums – recorded in The Netherlands for a small audience in a Dutch radio studio! The setting is a wonderful one – a mix of the live freedoms that would really let Ayler stretch out – especially when playing overseas – but recorded with the clarity of some of his studio albums for ESP – that sharp-edged sound that really highlights the groundbreaking style of his playing! The rest of the group here is equally great, and Murray is completely freed up from rhythm at points, to fly beautifully with the rest – on titles that include "Angels", "CAC", "Infant Happiness", "Ghosts", and "No Name". The same group performs on the final three tracks – recorded in Copenhagen for Danish Radio, with an equally great level of clarity – on "Saints", "Spirits", and "Vibrations". The interplay between Ayler and Cherry is especially great – echoing the latter's material with Ornette Coleman, but with a different sort of edge! CD2 features amazing live material from 1964 – work that was recorded at the Club Montmartre in Copenhagen, right around the same time that Albert Ayler recorded his album for Debut Records – and a set that has his quartet in even more firey formation overall! The tracks are long, and Ayler is completely unbridled – at a level that really shows not only how much of a leader he was to the American avant underground, but what an inspiration he was to the European free scene too – who could only help but take a big cue from his work here on tenor! The group also features equally wonderful work from Don Cherry on cornet – sounding quite different than when with Ornette Coleman – plus bass from Gary Peacock, whose dark tones really set the mood – and drums from Sunny Murray, who is also at an explosive point in his career. The material is remastered wonderfully, with permission from Albert Ayler's estate – and titles include "Mothers", "Saints", "Vibrations", Spirits", "Children", and a shorter "Spirits". CD

One of Azymuth's best-remembered albums from their American years on Milestone – a really killer classic that beautifully blends Brazilian and American styles of fusion! There's a simple, elegant feel to these tunes that takes off nicely from the group's previous album for Atlantic in Brazil – a pushing forward of the soulful sides of their style, but with just the right blend of quirkier elements as well – one that still keeps the edge of the early years, yet helps the group reach out with a wonderfully warm sound! Most tracks are quite spare, and without any too-smooth polishing in production – and titles include the classic "Jazz Carnival", a funky fusion classic if there ever was one – plus "Light As A Feather", "Avenida Das Manguerias", "This Exists", "Partido Alto", "Dona Olimpia", "Amazonia", and "Young Embrace". LP, Vinyl record album

One of Azymuth's best-remembered albums from their American years on Milestone – a really killer classic that beautifully blends Brazilian and American styles of fusion! There's a simple, elegant feel to these tunes that takes off nicely from the group's previous album for Atlantic in Brazil – a pushing forward of the soulful sides of their style, but with just the right blend of quirkier elements as well – one that still keeps the edge of the early years, yet helps the group reach out with a wonderfully warm sound! Most tracks are quite spare, and without any too-smooth polishing in production – and titles include the classic "Jazz Carnival", a funky fusion classic if there ever was one – plus "Light As A Feather", "Avenida Das Manguerias", "This Exists", "Partido Alto", "Dona Olimpia", "Amazonia", and "Young Embrace". LP, Vinyl record album

One of Azymuth's best-remembered albums from their American years on Milestone – a really killer classic that beautifully blends Brazilian and American styles of fusion! There's a simple, elegant feel to these tunes that takes off nicely from the group's previous album for Atlantic in Brazil – a pushing forward of the soulful sides of their style, but with just the right blend of quirkier elements as well – one that still keeps the edge of the early years, yet helps the group reach out with a wonderfully warm sound! Most tracks are quite spare, and without any too-smooth polishing in production – and titles include the classic "Jazz Carnival", a funky fusion classic if there ever was one – plus "Light As A Feather", "Avenida Das Manguerias", "This Exists", "Partido Alto", "Dona Olimpia", "Amazonia", and "Young Embrace". CD also features the bonus track "Montreux"! CD

One of Azymuth's best-remembered albums from their American years on Milestone – a really killer classic that beautifully blends Brazilian and American styles of fusion! There's a simple, elegant feel to these tunes that takes off nicely from the group's previous album for Atlantic in Brazil – a pushing forward of the soulful sides of their style, but with just the right blend of quirkier elements as well – one that still keeps the edge of the early years, yet helps the group reach out with a wonderfully warm sound! Most tracks are quite spare, and without any too-smooth polishing in production – and titles include the classic "Jazz Carnival", a funky fusion classic if there ever was one – plus "Light As A Feather", "Avenida Das Manguerias", "This Exists", "Partido Alto", "Dona Olimpia", "Amazonia", and "Young Embrace". CD also features four bonus tracks – "Jazz Carnival (full original mix)", "Avenida Das Manguerias (SS translation by Theo Parrish)", "Jazz Carnival (Yambee rework by Ashley Beedle & Yam Who)", and "Codsall Juniors" by Mark E. CD

An obscure trio from the early 60s, but one who play with plenty of soul jazz in their sound – thanks to some mighty heavy work on the keys of the piano from leader Red Bahnik! Red's got this sharp attack and inherently rhythmic sound that would have been right at home on early 60s Prestige Records – alongside piano gems from artists like Bobby Timmons or John Wright – yet the groove also isn't just copping American styles of the time, as they've got an unusual inflection to their rhythms – maybe some blocker styles that carve things out with a unique spirit, especially given the spacious echo used in the recording. Titles include the long originals "Fata Morgana Altamira" and "Santander" – plus "Fish This Week", "The Uptown", "Sister Sadie", and "Vacushna". CD

One of the few early albums as a leader cut by trumpeter Benny Bailey – a tremendous talent, finally getting his due! Bailey is one of the great unsung talents of jazz, and he's always made top-shelf work – from his early days with Quincy Jones, to his later years as an American expatriot, recording for European labels like Ego and MPS. This rare early session is one of the few recorded for the super-hip Candid label – and it features Bailey's trumpet at the head of a tight combo that includes Phil Woods on alto sax and bass clarinet, Julius Watkins on French Horn, Les Spann on flute and guitar, Tommy Flanagan on piano, and rhythm from Buddy Catlett on bass and Art Taylor on drums. Despite the "big brass" title, there's no horn section here – and instead, most of the numbers have that sharp-edged modern sound we associate with Candid – with Watkins horn being the only other brass instrument, alongside the lighter lines of Woods and Spann. Titles include "Hard Sock Dance", "Tipsy", "Please Say Yes", and "Maud's Mood". CD

If you read these pages at all, you'll know we're huge fans of late work by the great Chet Baker – as each different session seems to show a different side of his talents, and incredible evolution in sound, structure, and timing from his better-known material of the 50s! Chet spent many years on the European scene, recording material that was sometimes so scattered, it never fully represented him in the way his early American records did – but that's the wonderful thing about a set like this, as it shows that you can still find a hell of a lot of surprise in a player you already think you know! The package features two unreleased sessions from 1979 – done months apart, in Hilversum – and beautifully preserved, with a sound that really lets you rapturize over the extended solos on most of the tracks – handled by Chet with an amazingly mature style. The first session features Phil Markowitz on piano, Jean Louis Rassinfosse on bass, and Charles Rice on drums – and the second features Frans Elsen on piano, Victor Kaihatu on bass, and Eric Ineke on drums. Titles include "Nardis", "Blue Gilles", "Beautiful Black Eyes", "Down", "Blue Room", "Luscious Lou", "Old Devil Moon", and "The Best Thing For You". CD

If you read these pages at all, you'll know we're huge fans of late work by the great Chet Baker – as each different session seems to show a different side of his talents, and incredible evolution in sound, structure, and timing from his better-known material of the 50s! Chet spent many years on the European scene, recording material that was sometimes so scattered, it never fully represented him in the way his early American records did – but that's the wonderful thing about a set like this, as it shows that you can still find a hell of a lot of surprise in a player you already think you know! The package features two unreleased sessions from 1979 – done months apart, in Hilversum – and beautifully preserved, with a sound that really lets you rapturize over the extended solos on most of the tracks – handled by Chet with an amazingly mature style. The first session features Phil Markowitz on piano, Jean Louis Rassinfosse on bass, and Charles Rice on drums – and the second features Frans Elsen on piano, Victor Kaihatu on bass, and Eric Ineke on drums. Titles include "Nardis", "Blue Gilles", "Beautiful Black Eyes", "Down", "Blue Room", "Luscious Lou", "Old Devil Moon", and "The Best Thing For You". CD

A rock-solid set from the late 70s European years of Chet Baker – a set that's done with a more conventional quartet, which is different than some of his looser, lighter lineups of the time! The vibe is a bit like old school Chet, but the tracks are still open and have that nicely exploratory sense of sound that made the last decade of Baker's life such a musical revelation – a time of renewed creativity, even when most of the American scene had written him off! The group features Phil Markowitz on piano, Scott Lee on bass, and Jeff Brillinger on drums. All tracks nice and long – with versions of "Broken Wing", "Beautiful Black Eyes", and "This Is Always". Features the first-time vinyl appearance of the tracks "I Remember You" and "Love For Sale". LP, Vinyl record album

A hip batch of underground poetry tracks – collected together by the Before Columbus Foundation, a group dedicated to promoting the works of African-American and Native American artists! Despite the 1980 date, the collection has a feel that's similar to earlier righteous poetry albums on the Folkways label – proof that the flames were still burning strong in the underground, even though artists such as these weren't getting as much mainstream attention at the end of the 70s! Most readings are recorded live, with a relatively spare, stark sound – and performances include "Dope" by Amiri Baraka, "St Louis Woman" by Ishmael Reed, "For The Poets" by Jayne Cortez, "Bark Is What Us Dogs Do" by David Meltzer, "Flipochinos, Being Your Woman, & Pacific Lover" by Cyn Zarco, and "Artist/Art This" by Victor Hernandez Cruz. CD

Amazing work from Gato Barbieri's legendary exploration of Latin American sounds for Impulse Records – a set that's heavy on Cuban influences, thanks to arrangements from the mighty Chico O'Farrill! The sound is sublime – a bit fuller than some of Gato's other albums in the run, but never with any slick or commercial styles – just more of a richness from O'Farrill's backings, matched perfectly by Barbieri's amazing tones on the tenor! There's a lot of Latin percussion in the backings – courtesy of Ray Mantill, Luis Mangual, and Ray Armando – and Eddie Martinez mixes in some sweet electric piano with his acoustic lines, deepening the soul of the record in a really 70s way. Titles include "Milonga Triste", "Lluvia Azul", "La Padrida", "Viva Emiliano Zapata", and "El Sublime" – the last of which is a good description of the record! CD

Amazing work from Gato Barbieri's legendary exploration of Latin American sounds for Impulse Records – a set that's heavy on Cuban influences, thanks to arrangements from the mighty Chico O'Farrill! The sound is sublime – a bit fuller than some of Gato's other albums in the run, but never with any slick or commercial styles – just more of a richness from O'Farrill's backings, matched perfectly by Barbieri's amazing tones on the tenor! There's a lot of Latin percussion in the backings – courtesy of Ray Mantill, Luis Mangual, and Ray Armando – and Eddie Martinez mixes in some sweet electric piano with his acoustic lines, deepening the soul of the record in a really 70s way. Titles include "Milonga Triste", "Lluvia Azul", "La Padrida", "Viva Emiliano Zapata", and "El Sublime" – the last of which is a good description of the record! CD

Amazing work from Gato Barbieri's legendary exploration of Latin American sounds for Impulse Records – a set that's heavy on Cuban influences, thanks to arrangements from the mighty Chico O'Farrill! The sound is sublime – a bit fuller than some of Gato's other albums in the run, but never with any slick or commercial styles – just more of a richness from O'Farrill's backings, matched perfectly by Barbieri's amazing tones on the tenor! There's a lot of Latin percussion in the backings – courtesy of Ray Mantill, Luis Mangual, and Ray Armando – and Eddie Martinez mixes in some sweet electric piano with his acoustic lines, deepening the soul of the record in a really 70s way. Titles include "Milonga Triste", "Lluvia Azul", "La Padrida", "Viva Emiliano Zapata", and "El Sublime" – the last of which is a good description of the record! LP, Vinyl record album

Amazing work from Gato Barbieri's legendary exploration of Latin American sounds for Impulse Records – a set that's heavy on Cuban influences, thanks to arrangements from the mighty Chico O'Farrill! The sound is sublime – a bit fuller than some of Gato's other albums in the run, but never with any slick or commercial styles – just more of a richness from O'Farrill's backings, matched perfectly by Barbieri's amazing tones on the tenor! There's a lot of Latin percussion in the backings – courtesy of Ray Mantill, Luis Mangual, and Ray Armando – and Eddie Martinez mixes in some sweet electric piano with his acoustic lines, deepening the soul of the record in a really 70s way. Titles include "Milonga Triste", "Lluvia Azul", "La Padrida", "Viva Emiliano Zapata", and "El Sublime" – the last of which is a good description of the record! LP, Vinyl record album

A really free-wheeling live album from Kenny Barron – cut originally as a Japanese-only session for the ultra-hip Why Not label, and done with a sound that's a bit different than some of his American work of the time! The group's a trio – with Buster Williams on bass and Ben Riley on drums – and Barron's got a hard fire right from the start – stretching out on a set of tracks that all go well past the 10 minute mark, with a free approach to grooving – one that really lets him find his own space, solo-wise, yet never get too flowery or ever fail to swing – thanks to the hipness of the rhythm section! Titles include "Manha Do Carnaval", "Rhythm A Ning", and "Someday My Prince Will Come". CD

A really free-wheeling live album from Kenny Barron – cut originally as a Japanese-only session for the ultra-hip Why Not label, and done with a sound that's a bit different than some of his American work of the time! The group's a trio – with Buster Williams on bass and Ben Riley on drums – and Barron's got a hard fire right from the start – stretching out on a set of tracks that all go well past the 10 minute mark, with a free approach to grooving – one that really lets him find his own space, solo-wise, yet never get too flowery or ever fail to swing – thanks to the hipness of the rhythm section! Titles include "Manha Do Carnaval", "Rhythm A Ning", and "Someday My Prince Will Come". CD

A sharp-edged session of tremendous trumpet and tenor interplay – served up by the legendary quintet of Gianni Basso and Oscar Valdambrini! The album's got a sound that's as hip as it looks – a great approach to 50s modern jazz, done in a style that's equally influenced by west coast cool and east coast hardbop! Valdambrini's trumpet is beautifully measured throughout – with echoes of both Kenny Dorham and Chet Baker – offset by some deeper grooving on tenor from Basso, who plays with a strength and command that few American players of the time could match. Titles include "Come Out Wherever You Are", "Lo Struzzo Oscar", "Lotar", "Gone With The Wind", "Parlami D'Amore Mariu", and "Fan Tan". LP, Vinyl record album

A sharp-edged session of tremendous trumpet and tenor interplay – served up by the legendary quintet of Gianni Basso and Oscar Valdambrini! The album's got a sound that's as hip as it looks – a great approach to 50s modern jazz, done in a style that's equally influenced by west coast cool and east coast hardbop! Valdambrini's trumpet is beautifully measured throughout – with echoes of both Kenny Dorham and Chet Baker – offset by some deeper grooving on tenor from Basso, who plays with a strength and command that few American players of the time could match. Titles include "Come Out Wherever You Are", "Lo Struzzo Oscar", "Lotar", "Gone With The Wind", "Parlami D'Amore Mariu", and "Fan Tan". CD

A landmark album from Joe Bataan – so great, that it made the entire record company change its name from their original Mericana to the better-known Salsoul – which would later rule the world with a host of disco classics! The record has Joe really bursting out after his seminal Latin Soul work of the late 60s – blending Latin rhythms and American soul into a whole new style of music – one that Joe called "Salsoul", because of it's mixture of salsa and soul – upbeat, funky, and definitely a precursor to the later sound that Salsoul would release with soul and funk groups. The blend is fantastic, a real milestone in the NuYorican scene – and handled perfectly by Joe on every cut! There's some massive Latin funk on here, including the tracks "Latin Strut" and "Aftershower Funk", plus some straighter Latin jazz, like "Sunny Gets Blue Mambo", and a great Latin Soul cut with English vocals called "Johnny". LP, Vinyl record album

A landmark album from Joe Bataan – so great, that it made the entire record company change its name from their original Mericana to the better-known Salsoul – which would later rule the world with a host of disco classics! The record has Joe really bursting out after his seminal Latin Soul work of the late 60s – blending Latin rhythms and American soul into a whole new style of music – one that Joe called "Salsoul", because of it's mixture of salsa and soul – upbeat, funky, and definitely a precursor to the later sound that Salsoul would release with soul and funk groups. The blend is fantastic, a real milestone in the NuYorican scene – and handled perfectly by Joe on every cut! There's some massive Latin funk on here, including the tracks "Latin Strut" and "Aftershower Funk", plus some straighter Latin jazz, like "Sunny Gets Blue Mambo", and a great Latin Soul cut with English vocals called "Johnny". CD features bonus tracks – "Continental Square Dance", "Latin Strut (mono single)", "Peace Friendship Solidarity (mono single)", "Aftershower Funk (mono single)", and "Fin (mono single)". CD

The Beatles live at the BBC – heard here in a host of rare recordings that were done between March 1962 and June 1965 – pulled from the vaults of the legendary radio station, and with a few cool dialogue bits too! The versions here were all played live on the air, and make for some much-needed alternate takes on the big hits by the Fab Four – and a few American numbers that really show the influence of other styles on their early sound. And since the recordings were done in a top-shelf studio, they're not muddy concert recordings – but actually feel more like some lost EMI studio material from the same period. 71 titles in all – including "Nothin Shakin", "The Hippy Hippy Shake", "Glad All Over", "Rock & Roll Music", "Ticket To Ride", "Ooh My Soul", "Don't Ever Change", "Slow Down", "Matchbox", "I Forgot To Remember To Forget", "The Honeymoon Song", "Lucille", "Can't Buy Me Love", "Taste Of Honey", "From Us To You", "I Got A Woman", "I'll Be On My Way", "Shot Of Rhythm & Blues", "Some Other Guy", "Soldier Of Love", and "Clarabella". CD

The Beatles live at the BBC – heard here in a host of rare recordings that were done between March 1962 and June 1965 – pulled from the vaults of the legendary radio station, and with a few cool dialogue bits too! The versions here were all played live on the air, and make for some much-needed alternate takes on the big hits by the Fab Four – and a few American numbers that really show the influence of other styles on their early sound. And since the recordings were done in a top-shelf studio, they're not muddy concert recordings – but actually feel more like some lost EMI studio material from the same period. 71 titles in all – including "Nothin Shakin", "The Hippy Hippy Shake", "Glad All Over", "Rock & Roll Music", "Ticket To Ride", "Ooh My Soul", "Don't Ever Change", "Slow Down", "Matchbox", "I Forgot To Remember To Forget", "The Honeymoon Song", "Lucille", "Can't Buy Me Love", "Taste Of Honey", "From Us To You", "I Got A Woman", "I'll Be On My Way", "Shot Of Rhythm & Blues", "Some Other Guy", "Soldier Of Love", and "Clarabella". Cassette

One of the most beautiful albums of the 70s from pianist Richie Beirach – and in saying that, we don't mean to insult the rest of his other great American work! This set was done in Japan, and it's maybe one of Beirach's most obscure of the decade – but it's also a really special session that features the pianist in combination with two different musicians – guitarist Yoshiaki Masuo on side one, and trumpeter Terumasa Hino on side two – each artists whose contributions bring out a slightly different side of Beirach's sound! The guitar on side one highlights some of those spacious, airy notes that Richie brought to his beautiful ECM sides of the period – while Hino's use of both trumpet and flugelhorn emphasizes some of the darker tones of the piano, but in ways that are completely different than Beirach's work with Dave Liebman. One title is also just solo piano – and titles include "Yesterdays", "Mavrodaphne", "Black Is The Color Of My True Love's Hair", "Zal", and "What Is This Thing Called Love". LP, Vinyl record album

Socking soul from the 60s – a record with American roots and a very groovy British sound! The set was the second full length album from Madeline Bell – an American singer transplanted to the mod UK scene of the 60s, where she really flourished in a rich career of hit singles, endless session work, and later fame with the group Blue Mink. The tunes on this set are a wonderful bridge between Madeline's two worlds – and have a sound that's a lot like the uptown soul coming out of the US at the time – sweet and smooth arrangements, topped by deeper soul vocals that make for a wonderful juxtaposition. Arrangements are by British talents Arthur Greenslade, Ian Green, and Keith Mansfield – and titles include "Step Inside Love", "Hold It", "Help Yourself", "After All Is Said & Done", "For Your Pleasure", and "It's Up To You". LP, Vinyl record album

A stunner of a record from the mighty Jorge Ben – and a record that catapulted the Brazilian singer to international fame at the time! Ben had already been making magic for almost a decade down in Brazil – and his compositions and grooves left an undeniable impact on the scene in the post-bossa years – but this album has Jorge really emerging as the global soul star he was destined to be – from his powerful stare on the cover, right down to the grit in the grooves! The sound here is a refinement of the samba soul mode that Ben had been brewing up from the late 60s onward – a skittish mix of older samba elements, American soul, and some slight fuller production that really comes into its own here – mixing all the acoustic elements at the core with just a slight electric flourish, but never losing its edge in the process – all to provide Jorge with a sublime backdrop for his really amazing vocals. The set's a monument in funky Brazilian soul – and it includes the huge hit "Taj Mahal", which still sounds great, even after all these years – plus loads of other gems that include "O Circo Chegou", "Domingo 23", "Fio Maravilha", "Paz E Arroz", "Morre O Burro Fico O Homem", and "Que Nega E Essa". A gem all the way through – and a record we'd never part with! CD

A stunner of a record from the mighty Jorge Ben – and a record that catapulted the Brazilian singer to international fame at the time! Ben had already been making magic for almost a decade down in Brazil – and his compositions and grooves left an undeniable impact on the scene in the post-bossa years – but this album has Jorge really emerging as the global soul star he was destined to be – from his powerful stare on the cover, right down to the grit in the grooves! The sound here is a refinement of the samba soul mode that Ben had been brewing up from the late 60s onward – a skittish mix of older samba elements, American soul, and some slight fuller production that really comes into its own here – mixing all the acoustic elements at the core with just a slight electric flourish, but never losing its edge in the process – all to provide Jorge with a sublime backdrop for his really amazing vocals. The set's a monument in funky Brazilian soul – and it includes the huge hit "Taj Mahal", which still sounds great, even after all these years – plus loads of other gems that include "O Circo Chegou", "Domingo 23", "Fio Maravilha", "Paz E Arroz", "Morre O Burro Fico O Homem", and "Que Nega E Essa". A gem all the way through – and a record we'd never part with! CD

A rare groove from 70s France – the legendary Paris Soul album from this totally cooking combo! Despite their European origins, the group have a strong American approach – a groove that's heavy on bass and congas at the bottom, with almost the same Latin funk touches you might find in some of the Chicano soul groups of the LA scene – but served up here with an even tighter sound overall! All tracks are instrumentals, and they're heavy on Hammond along with the percussion – peppered with just a bit of horns and some sweet fuzzy guitar – all wrapped together beautifully, in a sound that's tight but never slick! There's almost a funky soundtrack vibe to the set – and titles include "Paris Soul", "Hang Out", "Black Waders", "Platano Split", "Salute To Santa", and "Woluwe Strip". LP, Vinyl record album

Maybe one of the most authentic records ever cut by John Berberian – an American musician, but one who delivered great work on the oud during the 60s – including some projects that were often a bit psychedelic in nature! This set's a bit more straightforward, but equally great – really hard-driving and surprisingly earthy, without any attempts at all to touch up the sound with rock or pop elements – quite a surprise, given that the set was issued on Roulette Records, home to more mainstream rock and soul! Instrumentation includes lots of percussion, plus saxes and guitar – as well as a host of great oud solos from Berberian, on titles that include "Samra Ya Samra", "Dale Dale", "Chifte Telli", "Gamavor Zimfor", "Tamiko", and "Oud Solo". LP, Vinyl record album

A wild set of electronic work from the American heartland of the 70s – a set that claims to bring you to a "higher stage of truth" – but which has a sound that's a lot more bracing at times than more meditative electronic and new age albums from the decade! Steve Birchall works on a Putney EMS, and really pushes the boundaries of its sonic spectrum – soaring out into space at times, while ruminating in dirtier territory at others – all with a really well-crafted approach that does show a sense of direction amidst the madness! Titles include "Music of the Spheres", "Summer Memories", "Cosmic Carousel", "Abacaba", and "Poseidon's Meditation." LP, Vinyl record album

Disco grooves, but with a definite difference – given that Jo Bisso had previously worked on the Parisian club scene, and brings a special flourish to this American album from the late 70s! Jo sings lead vocals on the side-long "Love Somebody" – a tune that builds strongly as Bisso gets answered by a trio of lovely ladies who really brighten up the sound – and who then seem to take over even more on the flipside working with singer Claudia Ferrari. This second side is even better than the first – as things get a bit more spare and stripped-down – snaking out on the smooth stepper "Your Love", getting some funky moogy touches on the P&P-like "Let's Keep It Together", and warming up on the mellow disco number "Thank You Baby". Special bonus – CD features a fifth track – not titled or credited at all! CD

The one where The Black Crowes really started expanding their creative reach beyond being a hell of a solid torch carrier of the swaggery soul rock sound of The Faces and Stones! They're still not reinventing the wheel (nor trying to), but they do begin to jettison the classic rock radio approach of earlier records for a hard grooving, album-oriented sound that's a LOT stronger than we credited them for back in the day! They wear their influences on their sleeves as proudly as ever, but there's so many of them, and it all sounds so good...damn! Respect long overdue, and proudly paid. Titles include "Gone", "A Conspiracy", "She Gave Good Sunflower", "Ballad In Urgency", "Wiser Time", "Descending" and more. Cassette

The one where The Black Crowes really started expanding their creative reach beyond being a hell of a solid torch carrier of the swaggery soul rock sound of The Faces and Stones! They're still not reinventing the wheel (nor trying to), but they do begin to jettison the classic rock radio approach of earlier records for a hard grooving, album-oriented sound that's a LOT stronger than we credited them for back in the day! They wear their influences on their sleeves as proudly as ever, but there's so many of them, and it all sounds so good...damn! Respect long overdue, and proudly paid. Titles include "Gone", "A Conspiracy", "She Gave Good Sunflower", "Ballad In Urgency", "Wiser Time", "Descending" and more. CD

The second album by The Black Crowes – and as the title suggests, they take a somewhat deeper step with the southern rock swagger, though still proudly wearing the influence of their Brit heroes on their sleeves! There weren't a ton of prominent neo-classic rock bands making such big waves, circa '92 and the Crowes well earned it – good songs with irresistible choruses, a real love for gritty soul in the vocals, and a fleshed out sound thanks the the addition of a full time keyboardist. Includes "Sting Me", "Remedy", "Thorn In My Pride", "Bad Luck Blue Eyes Goodbye", "Hotel Illness", "Black Moon Creeping", "No Speak No Slave", "My Morning Song" and "Time Will Tell". Cassette

Black Sabbath going strong – very much in their own space by this point in their career, setting a sound that countless others would try to follow – but never match for fierceness like this! The fuzz is definitely turned up to 11, the rhythms move at a breakneck speed, and Ozzy's vocals have all the mean, sinister sounds that set a generation on fire – plenty of energy to fill up long tracks that include "Megalomania", "Hole In The Sky", "Symptom Of The Universe", "Supertzar", "Am I Going Insane", and "The Writ". Includes the 2021 album remaster, North American Tour Live '75, and the Japanese single for Am I Going Insane. CD

The American debut of an African group who recorded most of their work in France during the 70s. This set's a French one, but has been spruced up a bit at Sigma Sound, where it received a US mix from Tom Moulton – ostensibly to give it a bit more of a dancefloor groove. The tracks have a style that's kind of smoother Afro Funk – almost in the mode of Manu Dibango's work from 1976. Titles include "Black Soul Music", "Moog Melody", "Dakar Sound", "Mangous", "Africa Africa", and "Black Brothers". LP, Vinyl record album

The rarest of all of Art Blakey's percussion group projects – and quite possibly the best, too! The session features Blakey at the head of a strong mix of jazz and percussion players – with Art Taylor and Philly Joe Jones on the regular drum kit, Donald Byrd on trumpet and Ray Bryant on piano, and a host of assorted percussion work by the likes of Ray Barretto, Sabu Martinez, Victor Gonzalez, Julio Martinez, and others. The resultant sound is incredible – very full, rich, and earthy – and done in a way that interweaves African and Latin percussion styles with straighter American jazz! A few cuts have chanting by Blakey and Sabu – and titles on this first volume include "The Feast", "Mirage", "Lamento Africano", and "Aghano". LP, Vinyl record album

The rarest of all of Art Blakey's percussion group projects – and quite possibly the best, too! The session features Blakey at the head of a strong mix of jazz and percussion players – with Art Taylor and Philly Joe Jones on the regular drum kit, Donald Byrd on trumpet and Ray Bryant on piano, and a host of assorted percussion work by the likes of Ray Barretto, Sabu Martinez, Victor Gonzalez, Julio Martinez, and others. The resultant sound is incredible – very full, rich, and earthy – and done in a way that interweaves African and Latin percussion styles with straighter American jazz! A few cuts have chanting by Blakey and Sabu – and titles on this second volume include "Otinde", "Swingin Kilts", "Dinga", and "Reflection". LP, Vinyl record album

The rarest of all of Art Blakey's percussion group projects – and quite possibly the best, too! The session features Blakey at the head of a strong mix of jazz and percussion players – with Art Taylor and Philly Joe Jones on the regular drum kit, Donald Byrd on trumpet and Ray Bryant on piano, and a host of assorted percussion work by the likes of Ray Barretto, Sabu Martinez, Victor Gonzalez, Julio Martinez, and others. The resultant sound is incredible – very full, rich, and earthy – and done in a way that interweaves African and Latin percussion styles with straighter American jazz! A few cuts have chanting by Blakey and Sabu – and titles include "The Feast", "Mirage", "Lamento Africano", "O'Tinde", "Swingin Kilts", "Dinga", "Reflection", and "Aghano". CD

A brilliant soul album! That's right, we said SOUL album! Bowie was at the height of his Ziggy Stardust fame when this one was recorded – a drastic left-turn in styles, forged during a point in his American tour when he could take a break, head to Philly, plug in at the Sigma Sound Studios, and come up with some fantastic little soul tunes, thanks to help from Luther Vandross! The album sparkles with the best sound of Luther's early work – and you'll hear more than a bit of Luther's work on his own, and his tunes with Gregg Diamond on the set. Features the sublime tracks "Win", "Fascination", "Right", "Somebody Up There Likes Me", and "Can You Hear Me" – as well as the hits "Young Americans" and "Fame". LP, Vinyl record album

A brilliant soul album! That's right, we said SOUL album! Bowie was at the height of his Ziggy Stardust fame when this one was recorded – a drastic left-turn in styles, forged during a point in his American tour when he could take a break, head to Philly, plug in at the Sigma Sound Studios, and come up with some fantastic little soul tunes, thanks to help from Luther Vandross! The album sparkles with the best sound of Luther's early work – and you'll hear more than a bit of Luther's work on his own, and his tunes with Gregg Diamond on the set. Features the sublime tracks "Win", "Fascination", "Right", "Somebody Up There Likes Me", and "Can You Hear Me" – as well as the hits "Young Americans" and "Fame". LP, Vinyl record album

The baritone sax of German musician Helmut Brandt is at the helm– but the album's equally noteworthy for its strong use of American players Benny Bailey on trumpet, Nat Peck on trombone, and Herb Geller on alto! The concert is one of those wonderful meetings of American and European jazz talents in a large group setting – the kind of mode that cooked up most famously in the Clark Boland Big Band of the 60s – but which also was simmering all over Europe in the decade – as it does here with additional work from Europeans Ack Van Rooyen on trumpet, Stefan Von Dobrzynski on tenor and flute, Gunter Meier on piano, and Siegfried Schmidt on trombone. The tunes are mostly hard-swinging, and exploding with colors – very much in a mid 60s MPS/Saba mode – with a nice balance between individuality and group sound. Titles include "Berlin Calling", "Boris", "Opus C-Moll 794", "Trifi", "Boogie Waltz", and the long "Ferien Suite". CD

A landmark album in the British folk scene at the start of the 70s – one of those records that was maybe a bit ignored at the time, but which has gone on to shape the sound of generations in the decades that followed! Anne Briggs has a really haunting voice – one that's got this spare, eerie quality that maybe follows from earlier American work by a singer like Jean Ritchie – and she's also a hell of a guitarist too, playing here with a complexity and sense of sound that instantly rivals some of the greats of both the Takoma Records generation, and UK contemporaries like Bert Jansch and John Renbourn. The album mixes vocals and instrumentals beautifully – and although the sound is lean, the whole thing has a tremendously powerful sound – on titles that include "Standing On The Shore", "Tangled Man", "Clea Caught A Rabbit", "Fire & Wine", "Highlodge Hare", "Sandman's Song", "Time Has Come", and "Tidewave". LP, Vinyl record album

A record that seemed to open the music of Peter Brotzmann up for a whole new generation of listeners – in part because it features the European legend on an American label that got him some of the widest circulation he'd enjoyed here in years – and also in part because drummer Hamid Drake provides a very different foil for his music! The sound is almost an imaginary 70s meeting between the FMP and loft jazz scenes – with Hamid offering up these beautifully rich tones on standard drums, frame drum, and tablas – while Brotzmann blows tenor, alto, tarogato, and e flat clarinet – often with a sound that's searing, but more soulful than usual too – especially on some of the more spacious, open moments on the record. Titles include "It's An Angel On The Door", "Trees Have Roots In The Earth", "The Uninvited Entertainer", and "Dark Wings Carry Off The Sky". CD

Peter Brotzmann's on clarinet this time around, and working here in an extended studio piece with his Chicago Tentet combo – one of his greatest groups of later years, featuring both Mats Gustafsson and Ken Vandermark on reeds, as well as Joe McPhee on both trumpet and alto sax! The work builds slowly, almost tentatively – the fills in strongly as the piece goes on – with a sound that's almost like the Jazz Composers Orchestra style at the end of the 60s, but not as dynamic overall. The reeds are almost strongest in shaping the tune – although other contributions include trombone from Hannes Bauer, tuba from Per Ake Holmlander, and cello from Fred Lonberg-Holm. CD 1 features the first part of the work – which is quite long, and stands strongly as an album on its own! CD

A great Brubeck side project – featuring music by Dave and lyrics by Iola Brubeck – kind of a reworking of the Gilbert & Sullivan musical, but with a hip 60s swinging jazz vibe – and a story about the importance of American jazz musicians as cultural ambassadors in the postwar years! There's some especially great vocal numbers from Lambert Hendricks & Ross – and Carmen McRae sings a bit in a mode that's similar to her Brubeck albums. And even Louis Armstrong is pretty charming, too! LP, Vinyl record album

An American Hammond player and a Polish drummer – both recording together in Sweden at the start of the 70s, and without any other instrumentation at all! The blend of organ and drums is wonderful – very spacious, but still pretty groovy too – thanks to these cyclical currents that run through the music, even when things are spread out – so that there's a pulsating quality to the whole thing that's pretty darn hypnotic! Sometimes organist Bruce Powell plays leaner, slinkier solos with a fair bit of soul – but other times he just lays back, and lets wider waves of sound come from his fingertips – spurred on by the heavy drum work of Wladyslaw Jagiello! Bruce sings and speaks a bit on the record – although most of the set is instrumental – and titles include "Reality (part 1)", "Reality's Monologue", "Prince Vlady (part 2)", "I Need You Now", "Wild Enough", and "No Nothin At All". CD

Exactly the kind of record that makes us love sound library records so much – and definitely the sort that sets the style apart from anything else we can think of! Both Sandro Brugnolini and Giorgio Carnini turn in some great work here – a mindblowing mix of modes over the space of ten short tracks – some tunes a cascading array of instrumentation, in a hip groove that's neither American jazz or soundtrack funk, but a special space of its own! Other tunes use an electronic approach that's years ahead of its time – as groovy as 60s analogue, but a lot darker, too – in ways that the rest of the world might not touch until the German new wave. The balance is almost even between swinging groovers and darker electronic cuts – and titles include "Grinta", "Azione CIA", "Scalo Clandestino", "Alambicco Cibernetico", "Strutture Generative", "Omicido Bianco", and "CIA Massacre". LP, Vinyl record album

The one and only album by this righteous funky combo from Ohio! Although Brute Force were an American group of the late 60s, they've got a sound that brings in traces of the African rhythms that were bubbling under at the time – similar to some of the best London groups of the post-colonial years, like Cymande, Demon Fuzz, or Asiko. There's often a jagged and jazzy style on the bottom of the grooves, topped with brighter horn flourishes, and combined with a vocal approach that has some slight folksy touches – very hip, progressive, and as righteous as you'd expect from the cover! Sonny Sharrock sits in on some tracks, and the titles include "Some Kind Of Approval", "Doubt", "Ye Le Wa", "Do It Right Now", "The Deacon", and "Monster". CD

The one and only album by this righteous funky combo from Ohio! Although Brute Force were an American group of the late 60s, they've got a sound that brings in traces of the African rhythms that were bubbling under at the time – similar to some of the best London groups of the post-colonial years, like Cymande, Demon Fuzz, or Asiko. There's often a jagged and jazzy style on the bottom of the grooves, topped with brighter horn flourishes, and combined with a vocal approach that has some slight folksy touches – very hip, progressive, and as righteous as you'd expect from the cover! Sonny Sharrock sits in on some tracks, and the titles include "Some Kind Of Approval", "Doubt", "Ye Le Wa", "Do It Right Now", "The Deacon", and "Monster". LP, Vinyl record album

It's no secret that Don Byas made some of his best recordings in Europe, not America – and this tasty little set is great support of that fact! The set features numbers that Byas cut in Paris at the end of the 40s – working with a mixture of American and Parisian players that includes Billy Taylor, Bernard Peiffer, Bill Coleman, Peanuts Holland, Tyree Glenn, and Hubert Rostaing. Tracks are short, and Byas' sound on the tenor is sublime – right up there with the best Ben Webster work of the time! Titles include "The Mohawk Special", "Body & Soul", "Ain't Misbehavin", "Rosetta", "I'm Beginning To See The Light", and "Working Eyes". LP, Vinyl record album

A fantastic set of Fender Rhodes from the Italian scene of the 70s – not a record that got the kind of mainstream play as American classics by Bob James and Ramsey Lewis – but a set that definitely shares their spirit! Cabildos Three were a studio group as much as a jazz combo – a trio with Cabildo on Fender Rhodes, working alongside tight bass and percussion – on jazzy tunes that were originally only done as a sound library session, but which have attained legendary status when pulled together in this full length album. The whole thing is every bit as great as the words "Fender Rhodes", "Italy", and "percussion" might suggest – and titles include "Castenada Drive", "Yuxtaposicion", "Collection Samba", "Two Types Of Complexion", "Jesus Maria District", "African Penta Song", and "Akorin". CD

An incredible collection of records – a series of albums that forever changed the sound of Latin music around the world! These five sets were all cooked up in the changing Cuban scene at the start of the 60s – where musicians were getting looser and freer, with a sound that was quite different than the tighter big bands of a few years before – strongly influenced by changes in American jazz, including the jam session mode that was big on record during the 50s! In a way, these sides are an answer to that – as they feature all-star musicians coming together on long, more spontaneous tracks – often in smaller combos with heavy influence on rhythm, and lots of work from the key soloists on the dates. Each record has a different leader, but often some of the same musicians – and there's some especially great work on trumpet and tenor by other members of the group – at a level that went on to influence the small combo sound of artists like Joe Cuba, the grooves of the Latin Soul/boogaloo scene, and even the all-star American groups like the Alegre All Stars and Fania All stars in years to come. Records 1 and 2 feature leadership by Julio Gutierrez, record 3 is led by Nino Rivera, record 4 (the most famous) is led by bassist Cachao, and record 5 is led by flautist Fajardo. Great box set – all CDs in small LP-styled sleeves with original art – alongside a 96 page booklet of notes and photos! CD

The first four albums from this crucial group – along with four more CDs of rare live material too! First up is the self-titled Cactus – the first album from this legendary group – an important American hard rock powerhouse, driven by the famous rhythm duo of Tim Bogert on bass and Carmine Appice on drums – both of whom roll out of the gate here with amazingly frenetic energy! They're maybe only topped by the guitar work of Jim McCarty, whose searing lines are clearly learned from blues inspirations, then turned up in both speed and power – to match the vocals and harmonica of Rusty Day! There's nothing going on here that sounds like blues rock at all – even though the set begins with a cover of "Parchman Farm" – next to other titles that include "My Lady From South Of Detroit", "No Need To Worry", "You Can't Judge A Book By The Cover", and "Let Me Swim". On One Way Or Another, Cactus are totally at the top of their game – and the guitar of Jim McCarthy really sets the record on fire, right from the very first note – at a level that should have made Jim one of the real guitar hero legends of his generation! Yet there's also power from the whole group going on too – tight rhythms from the team of Carmine Appice and Jim Bogert, the latter of whom starts to bring in his own vocals a fair bit more, offering backup to the raspy lead of Rusty Day. And while there's a few currents that show their older influence from blues, the sound here is massively hard rock all the way through – making the record a great illustration of the way that slavish blues rock gave birth to a fresh new jamming sound in a matter of just a few short years. Titles include "Rockout Whatever You Feel Like", "Song For Aries", "Feel So Bad", "Rock N Roll Children", and "Hometown Bust". Restrictions is next, and despite the title, there's no restrictions at all – as Cactus seem to be even more confident, more able to stretch their wings and fly than ever before – even adding in some extra piano and keyboards at points to the core guitar-heavy sound of the quartet! All the group's best elements are very firmly in place – searing guitar, righteously confident vocals, and a strutting sensibility that makes this early 70s album way ahead of the game in terms of territory that so many bigger groups would later copy for their own classic records. Titles include "Guiltless Glider", "Evil Alaska", "Sweet Sixteen", "Bag Drag", "Restrictions", and "Mean Night In Cleveland". Ot N Sweaty is a record that's got a bit of a shift in the classic Cactus lineup – as the group's still driven strongly by the work of Carmine Appice on drums and Tim Bogert on bass, but get guitar power from Werner Fritzschings, who's a pretty amazing player – next to some added keyboards from Duane Hitchings, and vocals from Peter French – a singer who's ballsy power might be even more in line with the group than their previous lead singer! The album's got an unusual approach in that side one was recorded live, side two in the studio – each with a nicely different flavor as a result – on titles that include "Swim", "Our Lil Rock N Roll Thing", "Bedroom Mazurka", "Telling You", "Bad Stuff", and "Bringing Me Down". 8CD set is overflowing with great material – bonus tracks added to three of the four albums in the collection, than a further 4CDs worth of live material – titled Fully Unleashed – The Live Gigs Vols 1 & 2. The live material is great – and really shows the tightness of the group at their best! CD

A great soul set from the Italian scene – mellow-stepping and easygoing, with a gentle groove that really makes the whole thing sparkle! The singer Sabreetha Vee has a great style – slightly accented, which gives her approach a quality that's a bit like that of Sade on some cuts – maybe more like Corinne Drewery at others – and the grooves are served up by the Lombaro Brothers, who have a way of taking American roots filtered through a UK soul approach from later generations – which creates this classic sound that nicely spans decades! Titles include "So Strong", "Summer Memories", "Shooting Star", "Like Glue", "My Time", "Everything Is Alright", and "Nobody Like You". CD

Jovem Guarda work by Roberto Carlos – with a rock n roll sound that's clearly influenced by American music, and lots of songs for the kids! CD

The Black Jazz recordings of Doug Carn are always a revelation – some of the most powerful, progressive work on the American underground of the early 70s – music that got Carn into way more record collections than you might expect! The sound here is a perfect summation of Doug's early genius – his own work on organ and keyboards, never overdone and mixed perfectly with a righteous array of acoustic sounds from Rene McLean on alto and tenor and Olu Dara on trumpet – both players who soar to the skies on waves of energy begun by Carn! Wife Jean Carn sings on a number of tracks – with this heavenly style that's mighty righteous – every bit as soulful as her later work at Philly International, but in a very different way. The set includes Doug's great reading of "Naima" – plus other wonderful cuts that include "Power & Glory", "Feel Free", "Jihad", "Fatherhood", and "God is One". CD

The Black Jazz recordings of Doug Carn are always a revelation – some of the most powerful, progressive work on the American underground of the early 70s – music that got Carn into way more record collections than you might expect! The sound here is a perfect summation of Doug's early genius – his own work on organ and keyboards, never overdone and mixed perfectly with a righteous array of acoustic sounds from Rene McLean on alto and tenor and Olu Dara on trumpet – both players who soar to the skies on waves of energy begun by Carn! Wife Jean Carn sings on a number of tracks – with this heavenly style that's mighty righteous – every bit as soulful as her later work at Philly International, but in a very different way. The set includes Doug's great reading of "Naima" – plus other wonderful cuts that include "Power & Glory", "Feel Free", "Jihad", "Fatherhood", and "God is One". LP, Vinyl record album

The Black Jazz recordings of Doug Carn are always a revelation – some of the most powerful, progressive work on the American underground of the early 70s – music that got Carn into way more record collections than you might expect! The sound here is a perfect summation of Doug's early genius – his own work on organ and keyboards, never overdone and mixed perfectly with a righteous array of acoustic sounds from Rene McLean on alto and tenor and Olu Dara on trumpet – both players who soar to the skies on waves of energy begun by Carn! Wife Jean Carn sings on a number of tracks – with this heavenly style that's mighty righteous – every bit as soulful as her later work at Philly International, but in a very different way. The set includes Doug's great reading of "Naima" – plus other wonderful cuts that include "Power & Glory", "Feel Free", "Jihad", "Fatherhood", and "God is One". CD

The group's listed here as the Double Quintet of trumpeter Ian Carr, but the sound is right next to the best work of his Nucleus group for Vertigo Records – a groundbreaking blend of jazz and electric elements, served up in a style that's very different from American work of the time! At one level, Carr and his group mates have this sophisticated style that's awash in complicated colors and very rich tones – but at another, they're able to open up and really let things fly – not really in prog directions, or avant improvisation either – but with a very freewheeling spirit that has Ian and the group exploding with new ideas all the way through! Other players include Harry Beckett on trumpet, Brian Smith on tenor and soprano, Tony Roberts on tenor and bass clarinet, and the electric core of Chris Spedding on guitar, Ron Matthewson on electric bass, and Karl Jenkins on electric piano – on long takes of tracks that include "Element 1", "Bedrock Deadlock", "Torso", "Snakehips Dream", and "Spirit Level". First-ever release – pulled from a well-recorded radio session in 1970! LP, Vinyl record album