Hardly the gospel of your father's generation – and hardly even the gospel of previous Numero releases either – as the set's a wonderfully offbeat batch of tracks that definitely lives up to the "apocryphal" in the title! Production sounds and musical styles go way past the mainstream – and lots of these numbers feel like secular soul from the definite left end of the spectrum in the 70s – especially the mellower cuts, which have a trippy quality that comes from weird instrumentation and unusual studio work – often matched by vocal presentation that's anything but spiritual, and which feels more like Darondo overall! These tunes are a real discovery – a deeper level of unusual gospel recordings than even the funk and or soul sides featured on other compilations – all pulled from the hinterland of self-released albums and singles from back in the day. As usual, Numero's done as great of job with the notes and packaging as they have with the music – really telling the full tale of this unusual stream of music – in a smoking set that features "That's All I Need" by Sensational Saints, "A Message Especially From God" by Robert Vanderbilt & The Foundation Of Souls, "Come Holy Spirit" by God's Band, "Faith" by Soul Superiors, "Can't Run This Race Alone" by Flying Eagles Gospel Singers, "Searching For The Truth" by Dwain Vinyard, "Get Involved" by Jonah Thompson, and "I Hear You Calling" by Francis Reneau & The Mission Singers. CD

A massive little record, and a real turning point for alto genius Lou Donaldson – as he uses the set to move from the tight bop of earlier years into a whole new spectrum of funky grooves! Key to this project is drummer Idris Muhammad – who's on the kit, already kicking it up in the way that would make him a jazz funk legend as the 70s began – but so young here, he's working under his original name of Leo Morris! The rest of the group is equally great – with the up-and-coming Lonnie Smith on Hammond and Jimmy Ponder on guitar – plus tight trumpet from Blue Mitchell, who's really hitting his most soulful sound of the 60s. Titles include Donaldson's fantastic funky reworking of "Ode To Billie Joe" – a very famous sample cut over the years – plus the soulful groovers "The Humpback", "Peepin", "The Kid", and a nice take on "The Shadow Of Your Smile". CD

One of the most consistently creative piano trios in the world today – a group who are always pushing the boundaries of their sound, strongly keeping away from familiar territory and tradition – yet always with a sense of swing and lyricism that continue to appeal to fans of more conventional jazz! EST aren't really ever that "out", but they're always stepping into unexpected space – odd sounds from the piano, noises you can't really place, and ways of blocking out a tune that are quite different than a regular trio session – but which also don't have the tricks or easy gimmicks of some of the jamband-oriented side of the jazz spectrum. Titles include "The Goldhearted Minor", "Beggar's Blanket", "Goldwrap", "Dolores In A Shoestand", "Fading Maid Postludium", and "Slipping On The Solid Ground". CD

One of the most consistently creative piano trios in the world today – a group who are always pushing the boundaries of their sound, strongly keeping away from familiar territory and tradition – yet always with a sense of swing and lyricism that continue to appeal to fans of more conventional jazz! EST aren't really ever that "out", but they're always stepping into unexpected space – odd sounds from the piano, noises you can't really place, and ways of blocking out a tune that are quite different than a regular trio session – but which also don't have the tricks or easy gimmicks of some of the jamband-oriented side of the jazz spectrum. Titles include "The Goldhearted Minor", "Beggar's Blanket", "Goldwrap", "Dolores In A Shoestand", "Fading Maid Postludium", and "Slipping On The Solid Ground". CD

Pianist Satoko Fujii has a really unique touch on the piano here – free lines that are very much in a Cecil Taylor side of the spectrum, but also often handled with a much lighter approach – so that there's these fleeting, scattered sounds that keep exploding from the instrument – matched with all these equally light touches from Mark Dresser on bass and Jim Black on drums! There's definitely a lot of improvisation taking place, but you can also get the sense of a larger structure in Fujii's approach – one that's often painterly, even when abstract – a bit hard to put in words, but very striking throughout. Titles include "Oscillation", "Then I Met You", "The Way To Get There", and "Shake Up & Down". CD

Grant's First Stand – and a mighty one at that! The set was recorded when Green was a guitarist fresh on the scene – showing up in New York from St Louis, where he'd been discovered by Lou Donaldson and brought to Blue Note with great acclaim! For this first date, Green's heard in really stripped-down company – just Hammond from Baby Face Willette and drums from Ben Dixon – a spare trio setting that makes for a madly cooking little record, and one without some of the smoother edges of Greens' later years! The set's as raw and soulful as Willette's own Blue Note classics – and is very much in the side of the spectrum that Donaldson was bringing to the label at a time – a much-needed dose of new energy from the Prestige Records side of the tracks. Every track's a winner – and titles include "Blues For Willarene", "Baby's Minor Lope", "Miss Ann's Tempo", and "A Wee Bit O Green". CD

The group's first, with production courtesy the great Gary Katz, who's put a fine touch on many Steely Dan LPs. While we were a bit dismissive of this effort at the time, it's kind of become a bit of a watershed in retrospect, the high water mark for the American Acid Jazz scene, if a bit commercial, and definitely a nice portrait of the mid 90s NYC scene, with loads of great players from all over the spectrum. Titles include "El Gollpe Avisa", "Buddah Head", "Nerd", "Balimka", "Rentstrike", and "Saturday Afternoon". CD

Most likely our favorite album by John McLaughlin – and one that features him in a wonderfully spare setting – alongside John Surman on saxes, Brian Odges on bass, and Tony Oxley on drums. The playing has a free and loose quality that McLaughlin would later lose on some his more fusion-y outings, and the group runs through some excellent post bop originals and modal excursion – all done with a wide open sound and a great sense of dynamics. Titles include "Extrapolation", "It's Funny", "Argen's Bag", "Pete The Poet", "This Is For Us To Share", "Spectrum", "Binky's Beam", "Really You Know", "Two For Two", and "Peace Piece". CD

A great new collective from Chicago – a group who blend together house, soul, and just a bit of jazz – all in a wonderfully warm blend of styles! The vibe here is somewhere near the Peven Everett side of the spectrum – as the tracks clearly merge an older sense of keyboard-heavy soul with some of the clubbier styles of the current underground – but all in a mode that doesn't fall for easy broken beat tricks or fake soul gimmicks. We were honestly surprised at the depth of the set, and together the tracks come off with a nice degree of righteousness that you'd hardly expect from the name or cover of the album. Titles include "Transit", "Tribe Of Naima", "Save Me", "Thinkin Back", "Imagine Freedom", "About Us", and a number of "In Transit" interludes. CD

A silly title, but a pretty nice album overall! This 2CD set features a cool selection of downtempo and retro-styled grooves from some of the hipper overseas labels of the past few years. There's a number of cuts on here by artists that we stock and love, but there's even more by artists we haven't – including some pretty cool groups that we were happy to discover. The package was selected by 45 Dip, and not only includes a number of their own tracks, but also has a feel that's pretty much in keeping with their own end of the musical spectrum – laidback, funky, with elements of classic instrumentation. Titles include "Gorgeous George", "Docking", "Something In Space", and "Va Va Voom (Space Lounge mix)" by 45 Dip, plus "Buddha Cowboy" by John Howard, "Mooger Fooger" by Bermuda Triangle, "She's Groovy" by Akasha, "In Spring" by Les Hommes, "Bubble Love" by Chunking, "Sea Of Change" by Broadway Project, "Angel" by Zohar, "One Day Trip In An Elevator" by Hand Polished, "Love Is Incredible" by Bastian, and "Party" by Sporto Kantes. 29 tracks in all! CD

Tommy Boy Records takes a new step into the hip hop archeology game with this series of essential hip hop hits – tracks ranging from late 70s bedrock slabs of essential old school to the 90s party movers – going well beyond Tommy Boy label staples to include pioneering tracks and hugely influential hits from across the hip hop spectrum! 12 tracks in all: "Rebel Without A Pause" by Public Enemy, "Nobody Beats The Biz", by Biz Markie, "Goin' Back To Cali" by LL Cool J, "Looking At The Front Door" by Main Source, "Cinderfella" by Dana Dane, "Be A Father To Your Child" by Ed O G & The Bulldogs, "Just Buggin'" by Whistle, "F**k Compton" by Tim Dog and more! CD

A beautiful set from the British scene at the start of the 70s – a record that's got a fairly folksy tone, but lots of jazzy currents as well! The set was issued on the seminal Dawn Records label – and really shows that imprint's commitment to the left side of the spectrum – as Mike Cooper's vocals and acoustic guitar come into play with more guitar from Stefan Grossman – plus alto sax from Mike Osborne, tenor and soprano from Alan Skidmore, piano from John Taylor, and bass from the late Harry Miller – all key players on the UK avant jazz scene of the time! The mix of these players with Cooper's core inspiration is not unlike some of the most progressive material coming from Island Records – or, even better, the special jazzy moments on records by Tim Buckley or Tim Hardin – company that Cooper could very easily keep, given the strength of his songwriting. Titles include "Don't Talk Too Fast", "On My Way", "Hope You See", "Weeping Rose", "Trout Steel", "I've Got Mine", "That's How", and "Pharoah's March". CD

Very cool! This CD is a compilation of 2 albums by the groovy Blossom Dearie – one rare, and one not so rare. The rare one's Blossom's 1970 record cut for Fontana UK, entitled That's Just The Way I Want To Be, and featuring some amazing Brit easy arrangements that are right out of the Sound Gallery/Sound Spectrum scene! The style of the record is very different than others by Blossom, and the swinging groovy orchestrations are a perfect accompaniment for her lively sing-song voice. Titles on that one include "Long Daddy Green", "Inside A Silent Tear", "That's Just The Way I Want To Be", and the great "I Like London In The Rain". Plus, the CD also includes the record Give Him The Ooh-La-La, which was issued over here by Verve, and which also adds 9 extra cuts to the CD, for a total of 21 tracks in all. Buy it for the rare Fontana LP – and savor the extra 9 cuts as a bonus! CD

Grant's First Stand – and a mighty one at that! The set was recorded when Green was a guitarist fresh on the scene – showing up in New York from St Louis, where he'd been discovered by Lou Donaldson and brought to Blue Note with great acclaim! For this first date, Green's heard in really stripped-down company – just Hammond from Baby Face Willette and drums from Ben Dixon – a spare trio setting that makes for a madly cooking little record, and one without some of the smoother edges of Greens' later years! The set's as raw and soulful as Willette's own Blue Note classics – and is very much in the side of the spectrum that Donaldson was bringing to the label at a time – a much-needed dose of new energy from the Prestige Records side of the tracks. Every track's a winner – and titles include "Blues For Willarene", "Baby's Minor Lope", "Miss Ann's Tempo", and "A Wee Bit O Green". CD

Remarkable modern jazz, from one of the most unique voices in the genre! Hill's piano work and compositions fall into a category of their own, working outside the limits of predominant bop sound, but not quite falling into the world of free jazz that rules the avant scene. This outstanding Mosaic box collects his seminal 60s recordings, comprising of the LPs Black Fire, Smokestack, Judgment, Point Of Departure, Andrew!, One For One, and Compulsion, plus plenty of alternate takes and some material that was issued under Sam Rivers name on the LP Involution. Sidemen include Joe Henderson, Bobby Hutcherson, Kenny Dorham, Eric Dolphy, John Gilmore, Freddie Hubbard, Sam Rivers, Richard Davis, Cecil McBee, Roy Haynes, Elvin Jones, Tony Williams and Joe Chambers. There's 52 tracks in all, spread out over 7 CDs, with titles that include "Land Of Nod", "Black Fire", "McNeil Island", "Tired Trade",Pumpkin", "Subterfuge", "Smokestack", "Ode To Von", "The Day After", "Verne", "Not So", "Flea Flop", "Siete Ocho", "Yokada, Yokada", "Reconciliation", "New Monastary", "Flight 19", "Spectrum", "Symmetry", "The Griots", "Duplicity", "Le Serpenmt Qui Danse", "Euterpe", "Erato", "Roots 'n Herbs", "Compulsion", "Premonition", "Violence" and "Desire". CD

Mindblowing work from pianist Andrew Hill – one of the key records during that short initial run when Blue Note was really giving him a special showcase for his talents – and when the label was dabbling in more avant jazz as part of the "new thing" moment on the scene! The group here is really the stuff of legends – as the set features a very late performance from Eric Dolphy on alto, plus Joe Henderson on tenor, Kenny Dorham on trumpet, Richard Davis on bass, and Tony Williams on drums – all players at the prime of their young talents, soaring to the skies under the leadership of Hill – skittishly working their way into territory that's never truly free, but wonderfully expressive and exploratory – a clear summation of the sense of "modern" in modern jazz! All tracks are originals by the pianist, too – and titles include "New Monastery", "Flight 19", "Spectrum", "Dedication", and "Refuge". CD reissue also features 3 bonus alternate takes of some of these, for a total of 8 tracks in all. CD

The first two albums from HP Lovecraft – a wonderfully trippy group from late 60s Chicago – one who shined briefly, but brilliantly enough to give the world two great albums and a few singles! Like so many groups of their time, HP Lovecraft have their roots in the later years of the folk scene – where they clearly picked up a sense of free being and personal expression. Yet unlike so many other groups, who turned that energy into a warmer, sunshiney approach, Lovecraft really kept on the dark end of the spectrum – in a spacey, tripped-out mode that was very much in keeping with their name. There's almost a Love-like sense of madness to some of these tunes – but a bit less focused and baroque – and by the time of the group's second album, they were actually de-intensifying their sound a bit, creating more space and a sense of stark loneliness that's really compelling! CD

About as hip as you can get for a hardbop session – a real cooker from the left end of the spectrum, filled with great work from all three players in the title! The pairing of Clifford Jordan's tenor and John Jenkins' alto is especially nice – as Jordan seems to bring out a bit of a deeper groove than Jenkins' gets on other records. And we're always big fans of Bobby Timmons' work on piano in just about any group setting – and here he's working with unique rhythm backing by Wilbur Ware on bass and Dannie Richmond on drums – making a rare non-Mingus appearance on the set!. The tracks are long, but extremely tight – in the manner that you'd expect from some of those modernist soul jazz sets on Riverside/Jazzland, particularly the work of Johnny Griffin and Wilbur Ware – with titles that include "Cliff's Edge", "Tenderly", "Princess", and "Soft Talk". CD

A wonderful set, and one that's definitely filled with spirits – most particularly from the tenor of Kidd Jordan, which has all this subtle power behind it, at a level that really gives proof to Jordan's many years on the freer side of the jazz spectrum! The trio here also features Alvin Fielder on drums and percussion, and Joel Futterman on piano, Indian flute, and curved soprano sax – but throughout the proceedings, which are freely improvised, the tenor of Jordan seems to be the real anchor in sound – an element that can match the modes of the other players, but also provide some direction too. Titles include "Start Stop", "Run Drop", "Start Continue", "Ripples, and "Double Strike". CD

A stunning spinoff from the first incarnation of King Crimson – a brilliant record from the team of Ian MacDonald and Michael Giles – both of whom move into territory that's quite different than their work with the more famous Fripp-led group! There's definitely elements here of the music the pair brought to King Crimson – but the songs are looser, more personal, and often have more jazz-rock elements in the mix – which can even result in some cool funky passages at times that are a quite soulful surprise! The album also features strong lyrical contributions from Peter Sinfield, who also sounds a bit hipper here – and work from Steve Winwood, who may well be one of the forces for the more soulful side of the spectrum. Lots of nice flute lines – almost Harold McNair-ish at times – and titles include "Suite In C", "Flight Of The Ibis", "Is She Waiting", "Tomorrow's People The Children Of Today", and "Birdman". CD

Most likely our favorite album by John McLaughlin – and one that features him in a wonderfully spare setting – alongside John Surman on saxes, Brian Odges on bass, and Tony Oxley on drums. The playing has a free and loose quality that McLaughlin would later lose on some his more fusion-y outings, and the group runs through some excellent post bop originals and modal excursion – all done with a wide open sound and a great sense of dynamics. Titles include "Extrapolation", "It's Funny", "Argen's Bag", "Pete The Poet", "This Is For Us To Share", "Spectrum", "Binky's Beam", "Really You Know", "Two For Two", and "Peace Piece". CD

A tremendous set from Jackie McLean – perfectly poised between his hardbop and modern years, with a set of compositions that are as great as the performances! The lineup on this one's a bit unusual – with Walter Bishop on piano, Blue Mitchell on trumpet, Paul Chambers on bass, and Art Taylor on drums – but that mix of players makes for a really unusual sound – as the rhythm section's often straight ahead, Blue Mitchell's notes are bold and sparkling, and Jackie's own solos are reaching for the darker corners of the spectrum! There's a great sense of tension here that heralds the genius of later McLean sides of the 60s – and original titles include "Francisco", "Condition Blue", "On The Lion", and "Capuchin Swing". CD

A tremendous set from Jackie McLean – perfectly poised between his hardbop and modern years, with a set of compositions that are as great as the performances! The lineup on this one's a bit unusual – with Walter Bishop on piano, Blue Mitchell on trumpet, Paul Chambers on bass, and Art Taylor on drums – but that mix of players makes for a really unusual sound – as the rhythm section's often straight ahead, Blue Mitchell's notes are bold and sparkling, and Jackie's own solos are reaching for the darker corners of the spectrum! There's a great sense of tension here that heralds the genius of later McLean sides of the 60s – and original titles include "Francisco", "Condition Blue", "On The Lion", and "Capuchin Swing". CD

A set of incredible records from Charles Mingus – all presented together in one mighty nice package! First up is Mingus Moves – a fantastic fresh new chapter in the career of Charles Mingus – a set that features the addition of two key players who would really shape his sound in the 70s – Don Pullen on piano and George Adams on tenor, both completely wonderful here! The group also features excellent trumpet from Roland Hampton, a player we don't know from many other settings – and the set also features some really nice vocal work from Honi Gordon and Doug Hammond. Titles include "Canon", "Moves", "Wee", "Flowers For A Lady", "Opus 3", and "Newcomer". CD also features bonus tracks – "Big Alice" and "The Call". Changes is key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Sue's Changes", "Devil Blues", "Remember Rockefeller At Attica", "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. On 3 Or 4 Shades Of Blues, Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". Next is Cumbia & Jazz Fusion – one of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". Me Myself An Eye is complicated later work from Charles Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker on tenors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side two contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last albums Charles Mingus ever gave us – before departing this planet way way too soon! The set shows the increasing sophistication of Mingus' music in these later years – a mode that almost echoes the path that Duke Ellington would take in his final decade – a move towards some larger-form material that still holds onto all the raw energy of the early days, but finds a way to not only bridge larger musical ideas – but musical generations as well! As part of this, the set's got a wonderful lineup – with Lee Konitz on alto, Pepper Adams on baritone sax, George Coleman on tenor, Eddie Gomez on bass, and Joe Chambers on drums – and titles include the long title track, "Something Like A Bird", split up over 2 sides of the LP, plus "Farewell Farwell". CD

A pair of soundtracks for two of the creepiest horror movies of the 70s – back to back on a single CD, and given the top-shelf Film Score Monthly treatment! First up is the score for Soylent Green – a mix of very moody, unusually-toned passages that are mixed with some mellower, jazzier numbers that offset things nicely – composed by Fred Myrow, but also given a bit of help from horror maestro Gerald Fried! The music is definitely above the norm – not just in the higher budget, but also in the way that things come together sonically – at a level that makes for a lot of surprises throughout – on titles that include "Tab's Pad/Furniture Party", "Shirl & Thorn", "Home Lobby Source", "Can I Do Something For You", and "Sol's Music". Demon Seed is a great one from Jerry Fielding – definitely at the darker side of his sonic spectrum, which is pretty darn fitting, given that the film involves a computer having sex with Julie Christie! There's a sense of evil that resonates in the music right from the start – a mode that's partially borrowed from the Italian giallo generation, but which is given a more varied approach here, often at a level that's very low in the sonic spectrum. Tracks include "Birth Scene", "Probed Or Put To Bed", "Last Voyage", and "Closing Crawl". CD features almost 80 minutes of music – and detailed notes on both scores! CD

A taut score from Piero Piccioni – penned for an early 60s black and white thriller, with a sound that's often a lot more serious than some of his other work of the time! There's a few whimsical themes at the start, but these drop off quickly – leaving some very spare, atmospheric numbers with a really tense, spooky sound – one that often comes from solo piano or organ work from Piccioni, the latter of which has a really deep-down, rumbling quality. Horns appear on some of the lighter moments – which have almost Nino Rota-like melodies that are a bit playful – but the score definitely leans towards the darker side of the spectrum at most moments. Titles include "Fox Foxy", "Waltz For You", "Il Terrorista", and "Eco Di Un Tempo". CD features the original soundtrack, plus 9 bonus tracks with a stereo mix! CD

One of the richest and most complex recordings we've ever heard from Silent Poets – a brilliant blend of strings, soul, and sounds! The style here is a bit more cinematic than before – taking cues from recent Silent Poets work, but unlocking a new sense of majesty in the music – one that unfolds gently as the tunes go on, and really finds a unique place for itself in the modern sound spectrum. There's a sense of confidence and power here that goes way beyond the last few Silent Poets records – and the initial forays into this type of music have finally found their place, and come together much more strongly here. Shawn Lee delivers a bit of guest work on the record, and titles include "Rock Star", "From Earthling", "Future", "Dumb Girl", "Next Episode", "Man On The Street", "Fate", and "Wonder". CD

Freewheeling Cecil Taylor – heard here solo, in his best 70s mode – recorded live in Austria in 1976, playing beautifully on a Bosendorfer Grand piano! Taylor works wonders with the instrument – giving it a pyrotechnic workout during the extended performance on the set – at a level that, whatever you might feel about his approach to jazz, really stands as a demonstration that, above anything else, Taylor has always been one hell of a pianist – able to handle the instrument in a way that's unlike anyone else! The album features one long track – "Air Above Mountains (Buildings Within)" – awash with light, colors, and life – all from the Taylor side of the spectrum! CD

Maybe the most lasting classic during the short but important run of Tupac Shakur – the overstuffed album that catapulted him to huge mainstream fame, and which was also the last to be released before his early death. The producers and guests read like a who's who of the harder side of the mainstream spectrum – and include Dr Dre, Snoop Dogg, Redman, Method Man, Kurupt, E-40, The Outlawz, and others – but it's also clear who's going for the crown here, as you'll hear on tracks that include "All Eyez On Me", "California Love (rmx)", "I Ain't Mad At Cha", "2 Of Amerikaz Most Wanted", "Can't C Me", "Heartz Of Men", "Got My Mind Made Up", "Shorty Wanna Be A Thug", "Ain't Hard 2 Find", "Run Tha Streetz", "Picture Me Rollin", "When We Ride", "Thug Passion", "Heaven Ain't Hard 2 Find", and "How Do U Want It". CD

Maybe the most lasting classic during the short but important run of Tupac Shakur – the overstuffed album that catapulted him to huge mainstream fame, and which was also the last to be released before his early death. The producers and guests read like a who's who of the harder side of the mainstream spectrum – and include Dr Dre, Snoop Dogg, Redman, Method Man, Kurupt, E-40, The Outlawz, and others – but it's also clear who's going for the crown here, as you'll hear on tracks that include "All Eyez On Me", "California Love (rmx)", "I Ain't Mad At Cha", "2 Of Amerikaz Most Wanted", "Can't C Me", "Heartz Of Men", "Got My Mind Made Up", "Shorty Wanna Be A Thug", "Ain't Hard 2 Find", "Run Tha Streetz", "Picture Me Rollin", "When We Ride", "Thug Passion", "Heaven Ain't Hard 2 Find", and "How Do U Want It". CD

A seminal jazz rock statement from drummer Tony Williams – one that has him stepping out quite far from his original "new thing" recordings of the mid 60s! The album's got a genre-forming sound that's incredibly fierce – a power trio churning of Williams drums, John McLaughlin's guitar, and Larry Young's free-thinking work on organ. The tunes are long and jamming, but also have a tight rhythmic focus that never gets too sloppy – and which virtually set the stage for a whole generation of 70s fusion players in years to come! Young and McLaughlin are especially great – working here with Williams to pound out sheets of sound in a cosmic trippy maze of riffs and grooves, certainly enough to inspire the most addled rocker to head over to the jazz section! Though this set was released as two separate volumes, this double LP version has both albums, and features 8 tracks in all "Emergency", "Beyond Games", "Where", "Vashkar", "Sangria For Three", "Something Spiritual", "Spectrum", and "Via The Spectrum Road". CD

These guys just keep on digging and digging up more great soul music – and our record collections are certainly richer as a result! As with previous volumes, the focus here is on deep-burning, low-cooking tunes that are often heavily in the southern soul spectrum – the kind of tunes that lay hidden in the corners behind the bigger hits from labels like Atlantic or Stax, but which somehow strike a chord that's even richer, fuller, and less cliched than some of the overplayed styles of the genre. The set features 20 tracks in all – by the likes of Buddy Ace, Larry Davis, Richard Marks, Mavis Staples, Betty Harris and others. CD

The title says "soul standards", but the music here is anything but – not familiar hits or well-worn classics, but instead a great array of lesser-known gems from the TK Records powerhouse of Florida soul! The music here really spans the spectrum of the excellent work that TK was doing at the time – and moves between southern soul, a bit of funk, and some of the more modern elements that TK was hitting at the time – bringing a new sort of sophistication to the southern scene. There's a few familiar cuts here, mixed with a lot more rare gems – and titles include "Jazz Freak" by Paulette Reaves, "You're The Song I've Always Wanted To Sing" by Timmy Thomas, "Gettin With My Baby" by Leon Debouse, "You Made Me Want To Dance" by Irene Reid, "Love The Way You Love Me" by Eddie Horan, "How Long" by Brandye, "Caught In The Act" by Facts Of Life, "Puttin It Down To You" by Jackie Moore, "You Can't See For Lookin" by Betty Wright, "Living For Today" by Jimmy Briscoe & The Beavers "Rock" by The JBs, "Best Part Of A Man" by Wilson Pickett, and "Let's Straighten It Out" by Latimore. CD

Another masterpiece from the Soul Jazz collective – a collection of tunes that bridges the secular and spiritual worlds, and brings together a mixture of gospel and soul tracks from the 60s and 70s! It's no secret that soul music has drawn quite a bit of inspiration from gospel (as well as more than its share of stars!) – but rarely has that inspiration been so clearly traced than in this wonderful set! The tunes include gospel numbers that have a classic soul sound, and classic soul tunes that really lean towards the gospel side of the spectrum – and most of the artists on the set are familiar ones, but heard here in a style that links them all nicely together. Titles include "Sometimes I Feel Like A Motherless Child" by Clarence Smith, "Let's Get Together" by Bobby Bland, "Grandma's Hands" by Marion Gaines Singers, "Every Day Will Be Like A Holiday" by The Sweet Inspirations, "Pastures Of Plenty" by Odetta, "Love Lifted Me" by Jesse Dixon, "I Don't Know Where We're Headed" by Sons Of Truth, "Eleanor Rigby" by Kim Weston, "In Between Tears" by Irma Thomas, "Lort Is It" by Gospel Artistics, "Tripping On Your Love" by Staple Singers, and "Mama" by Esther Marrow. CD

Soul and gospel, gospel and soul – a beautiful marriage in music that's summed up perfectly in this sweet little set! It's no secret that gospel music had plenty of influence on soul back in the early days – but as the genre went on, soul ended up throwing a mighty sound back at gospel too – so that by the late 60s, both musics were pretty well tied together in styles, themes, and spirit! This collection digs even deeper than the already-great first volume from Soul Jazz – and brings together a wide range of work that illustrates the powerful effect that soul had on gospel back in the late 60s and 1970s – righteous lessons learned from the secular side of the spectrum, folded back to make the spiritual even hipper than before! As always with Soul Jazz, plenty of care went into the set – and the music is provided with an extremely thoughtful track list that goes way past the obvious – as well as a good set of notes to back up the choices. Plus, the tunes here are often quite funky – almost making the package a "gospel funk" collection! 20 tracks in all – including "We Should All Thank The Lord" by The Lovers Of God, "I'll Keep A Light In My Window" by NYCC, "Why Am I Treated So Bad" by Sweet Inspirations, "Let Him Come In" by Howard Lemon Singers, "Keep Trying" by Mildred Clark, "Dead End Street" by Clara Ward, "Since I've Been Born Again" by Martha Bass, "You'd Better Get A Move On" by Louise McCord, "Do Your Thing" by Marion Gaines Singers, "Praise His Name" by The Stovall Singers, "Let Them Talk" by Meditation Singers, "When Will It End" by The Sensational Cymbals, and "After The Rain" by Pastor TL Barrett. CD

A really unusual soundtrack from the great John Barry – maybe not what you'd expect for a British film set in the 19th Century! A large part of the soundtrack have these great brooding orchestrations – the kinds of passages that Barry would often unfurl in a James Bond film when the big evil devices were being put into place, or when the lair of a villain was first exposed – all these wonderfully well-crafted tones in the orchestrations with an especially strong ear for the lower end of the spectrum. And then, the second half of the set moves into even ore unusual territory – songs that have maybe a touch of South African swing, but with a mod 60s style, and lots of electric guitar – a very startling change, but a groovy one too, and making for some wonderfully swinging numbers! Titles include "Wagons Over", "Big Shield", "High Grass", "Monkey Feathers", "Zulu Maid", and "Stamp and Shake". CD

Quite possibly THE James Brown album of the mid 60s – a solid set of hard-grooving tracks, based around the monster title hit "I Got You (I Feel Good)"! The tune's one of those numbers that has been used a gajillion times over the years in commercials and promos – but which never sounds better than here, on James' original version – one of those cuts that never gets old! The hit's also nicely offset by a number of other more obscure numbers that make the album really worth tracking down – titles that include "I Can't Help It (I Just Do Do Do)", "Good Good Lovin", "I've Got Money", "Three Hearts In A Tangle", "You've Got The Power", and "Love Don't Love Nobody" – all on the rougher side of the JB spectrum. CD

Obscure work from Kenny Burrell – material originally issued by Muse Records, most of it with a very laidback feel – as you'd guess from the title! The original sides were produced by Helen Keane, who'd done some of Bill Evans' greatest sets – and who had a real ear for the mellower side of the jazz spectrum. And for the record, she's got Kenny playing in a trio format that's very spacious – with only gentle accompaniment on bass and drums, and most of the sound on the set coming from the strings of Kenny's guitar. Following in the gentle spirit of the set, Kenny even plays an acoustic guitar on some numbers – making for a very different sound than usual. Some tracks are quite long, really letting Kenny open up on his solos – and titles include "So Little Time", "All Blues", "In A Mellow Tone", "In The Still Of The Night", "Tenderly", "Listen To The Dawn", and "You & The Night & The Music". CD

Wonderful work from a group who are equally great on the funky tip, and on the mellow side of the spectrum – a small southern combo from the mid 70s, but one with a feel that's a lot more like some late 60s funky 45s! The funky cuts are almost all originals here – handled by Earl with a style that borrows from James Brown, but strips things down a lot more too really going for a gritty groove that lives up to the raw spirit of the image on the cover! Mellower moments have this great fragile quality – clearly inspired by New Jersey soul groups of the early 70s, even when the tunes are more familiar hits. Funky numbers include "Set Me Free", "Shake Your Poo Poo (parts 1 & 2)", and "Start Cooking" – and other cuts include "Make The World Go Away", "Open Up My Heart", and "Make It Easy On Yourself". CD features two bonus cuts – 45 versions of "Open Up My Heart" and "Shake Your Poo Poo". CD

A landmark session that gathered together just about every hip British jazz and jazz/rock musician of the time – and brought them together into one super-cool orchestra of sound! Robert Fripp produced the record, and Keith Tippett is the overall music director – but the album's got a feel that's much more in the avant side of the UK jazz spectrum – particularly the trippier side of the Deram/Decca label of the late 60s – like work by Mike Westbrook or Mike Gibbs! The lineup is huge – with Elton Dean and Dudu Pukwana on alto sax, Alan Skidmore and Gary Windo on tenor, Ian Carr and Mongesi Fesa on trumpets, Mark Charig on cornet, Nick Evans and Paul Rutherford on trombone, Keith Tippett on piano, Brian Godding on guitar, Robert Wyatt and John Marshall on drums, and Maggie Nicholls, Julie Tippett, Mike Patto, and Zoot Money on vocals – plus lots of strings as well! CD

Sweet 80s grooves from Cherrelle – a set that really has the singer cooking strongly with the production team of Jimmy Jam and Terry Lewis – complete with all the heavy beats you might expect! Jam and Lewis borrow plenty of bottom sounds from the styles of hip hop and electro, and do a great job of mixing the rhythmic elements with Cherrelle's catchy vocals – all in a way that really blows away some of their more chart-topping productions, as the tunes have a bit more of an underground appeal! Make no mistake, this is definitely the poppier side of the soul spectrum – but there's also a freshness here that goes way past Janet Jackson – and which retains some of that smoother, more sophisticated sound we always love in the Tabu label. Titles include "You Look Good To Me", "High Priority", "Artificial Heart", "Saturday Love", "Oh No It's U Again", and "New Love". CD

Wonderful live work from the John Coltrane Quartet – tracks recorded in Paris during a famous 1962 European tour – and material that we're not sure we've seen anywhere else! The group here is, of course, that masterful lineup of Coltrane on tenor and soprano saxophone, McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums – really stretching out on long tracks that are full of modal energy, emphasized very strongly by Tyner and Garrison – and which have these beautiful solos from John that are very exploratory in both tone and phrasing, but which still hang more on the inside edge of the spectrum than his live work from a few years later. The set features a spoken introduction from Norman Granz – then moves into a 22 minute take on "Impressions", a 23 minute version of "My Favorite Things", and a 15 minute reading of "Mr PC" – plus a shorter, soulful ballad reading of "Everytime We Say Goodbye". CD

Tenors can't get any more conclaved than this – as the record brings together 4 players on the instrument in a great match from 2 of the best sides of 50s jazz! John Coltrane and Hank Mobley represent the more open, soulful side of the spectrum – and Al Cohn and Zoot Sims the tighter, more smartly arranged aspect. Together, the quartet of horns work in an open-ended blowing mode with rhythm by Red Garland, Paul Chambers, and Art Taylor – in a way that almost makes the set a "Coltrane plus" album for Prestige – one that has the structure of some of the best Trane/Garland sides for the label, but which blows in some other horns with different voicings. If you ever needed a record to demonstrate the subtler shadings of genius within 50s modern jazz, yet still convince you that it could also be relaxed and spontaneous, this record may well be the one. Titles include 2 standards – "Just You, Just Me" and "How Deep Is The Ocean" – plus 2 Mobley originals – "Tenor Conclave" and "Bob's Boys". CD

Some of the greatest Miles Davis material ever recorded – and not really ever officially issued as an album until this collection! The recordings are from the magical year of 1958, a time when Miles was working in the Kind Of Blue mode – on the album of the same name, one of his all-time standout classics. The work on this set is in a very similar spirit – recorded by a sextet that includes the rhythm section of Jimmy Cobb, Paul Chambers, and a young Bill Evans, who brings a magically modal feel to the album that really gives it an edge. Added to that are the saxophones of John Coltrane and Cannonball Adderley, blowing together in two ends of the soul spectrum, really stretching the color palette from Miles' usual work. Miles himself seems very inspired by the company, and works with plenty of space to allow the saxophonists to stretch out in wonderful solos – and Evans himself is simply amazing, working wonderfully in the setting, making us wish he'd recorded more group dates like this one! The first 3 tracks on the set were briefly issued on the flipside of the Jazz Track album (an obscure Columbia LP that also included 10 songs from the soundtrack to Ascenseur Pour L'Echafaud), and a few others on later live LPs – but this is the first time the material from that group has appeared together as a full album. Includes stellar versions of "Stella By Starlight", "Green Dolphin Street", "Fran Dance", "My Funny Valentine", "Oleo", and "Love For Sale". CD

Plenty of crazy rhythms here – as singers Chiemi Eri and Carl Jones are joined by Japanese jazzmen who include Nobuo Hara & His Sharps & Flats, saxophonists Sadao Watanabe and Sleepy Matsumoto, guitarist Shungo Sawada, and the Hideo Shiraki Quintet! The backings on all tracks are superb – and elevate the already-great team of Eri and Jones to a wonderful new level – one that easily matches some of the hippest vocal jazz sessions cut in the US during the same period, especially some of the more inventive albums on the soul jazz side of the spectrum. Titles include "The Big Twister", "My Funny Valentine", "Just Squeeze Me", "Love Is Here To Stay", "I Get A Kick Out Of You", and "Midnight Sun Will Never Set". CD

A fantastic lost set from modernist genius Gil Evans – one that expands on some of the larger group territory he was exploring with Miles Davis at Columbia Records – but with an even hipper range of soloists overall! The lineup on the record is an all-star one – mostly top shelf players, not studio musicians – and the set has Evans making room in the arrangements for key solo performances by giants who include Johnny Coles on trumpet, Steve Lacy on soprano sax, Budd Johnson on tenor, Ray Crawford on guitar, and both Curtis Fuller and Jimmy Cleveland on trombones – all players who each bring some key moments of magic to the larger arrangements on the album. Evans himself plays piano, and drums are by Elvin Jones and Dennis Charles – which should give you an idea of the modernist inclinations in the music. And although the title says "standards", the tunes here are definitely on the hipper side of the jazz spectrum of the 50s, expanded with beautiful modern arrangements by Gil – on versions of "Joy Spring", "Ballad Of The Sad Young Men", "Django", "Straight No Chaser", and "Chant Of The Weed". CD

Mindblowing work from pianist Andrew Hill – one of the key records during that short initial run when Blue Note was really giving him a special showcase for his talents – and when the label was dabbling in more avant jazz as part of the "new thing" moment on the scene! The group here is really the stuff of legends – as the set features a very late performance from Eric Dolphy on alto, plus Joe Henderson on tenor, Kenny Dorham on trumpet, Richard Davis on bass, and Tony Williams on drums – all players at the prime of their young talents, soaring to the skies under the leadership of Hill – skittishly working their way into territory that's never truly free, but wonderfully expressive and exploratory – a clear summation of the sense of "modern" in modern jazz! All tracks are originals by the pianist, too – and titles include "New Monastery", "Flight 19", "Spectrum", "Dedication", and "Refuge". CD reissue also features 2 bonus alternate takes of some of these, for a total of 7 tracks in all. CD

We've always loved the wonderfully dark corners in the tenor work of saxophonist Mark Turner – but it sounds especially great here, in the company of pianist Ethan Iverson – as the two players deliver a superb album of duo material for ECM! Iverson never softens the sound of Turner, but he does bring out a greater current of sentiment than we sometimes hear in his work – especially when Mark might get a bit too "arch", and maybe limit himself to the moodier side of the spectrum. Instead, both he and Iverson create this sublime balance of darkness and light throughout – in a mode that's very unique, even in a familiar ECM setting – on original material that includes "Lugano", "Temporary Kings", "Dixie's Dilemma", "Seven Points", "Myron's World", and "Third Familiar". CD

A legendary pairing of talents – as Japanese jazz singer Kimiko Kasai works alongside Herbie Hancock – in a setting that's very much on the soul side of the spectrum! Both Herbie and Kimiko started out with a straighter jazz sound in their early years – but by the end of the 70s, they'd both picked up plenty of influences from R&B – although Kasai's work was largely unknown to American audiences. This set is one of those rare Japanese-only sessions by Herbie at the time – a few of which have gotten released overseas as the decades have gone on – and Hancock is in his best keyboard groove, and also gets additional help on the keys from Webster Lewis – who no doubt brings a strong soul current to the music too. Other musicians include Bennie Maupin on soprano and tenor sax, Paul Jackson on bass, Ray Obeido on guitar, Alphonse Mouzon on drums, and Bill Summers on percussion – in a groove that's like a tighter take on the sound of The Headhunters. Kimiko sings in English – and titles include some great versions of Herbie Hancock tunes – including "Maiden Voyage", "Sunlight", "Butterfly", "Tell Me A Bedtime Story", and "Harvest Time" – plus a great take on Stevie Wonder's "As", the cut "Head In The Clouds", and the funk-steeped opener "I Thought It Was You". CD

A stunning spinoff from the first incarnation of King Crimson – a brilliant record from the team of Ian MacDonald and Michael Giles – both of whom move into territory that's quite different than their work with the more famous Fripp-led group! There's definitely elements here of the music the pair brought to King Crimson – but the songs are looser, more personal, and often have more jazz-rock elements in the mix – which can even result in some cool funky passages at times that are a quite soulful surprise! The album also features strong lyrical contributions from Peter Sinfield, who also sounds a bit hipper here – and work from Steve Winwood, who may well be one of the forces for the more soulful side of the spectrum. Lots of nice flute lines – almost Harold McNair-ish at times – and titles include "Suite In C", "Flight Of The Ibis", "Is She Waiting", "Tomorrow's People The Children Of Today", and "Birdman". CD

The three or four shades of the blues here are all pretty darn deep – as Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". CD

A relatively laidback set from Oscar Peterson – just the kind of record we need to remind us of his strengths on the mellower side of the spectrum! The recording's a live one – done in LA in 1986 – and Peterson still brings a gentle vamp to most numbers, but also has an open, lyrical quality too – stretching out in a quartet with Joe Pass on guitar, Dave Young on bass, and Martin Drew on drums. The recording quality has Oscar most up front in the mix – which is great at the gentler moments – and titles include "Soft Winds", "Love Ballade", "Cool Walk", and "On The Trail". CD

A fantastic collection of unreleased material from Prince – not spare demos or home recordings, or studio snippets either – but instead some fully-formed songs that come right from the glory days of the singer's career! Almost all the material here is from the early 80s – and most tracks were later recorded by other artists in the Prince spectrum – including The Time, Apollonia 6, Mazarti, The Family, Jill Jones, and Sheila E – but are done here by the man himself, with all of the slinky, funky qualities that he brought to his own music at the time – qualities that are especially well-noted on some of the other cuts that were recorded by The Bangles and Kenny Rogers – which really feel different in the hands of Prince. Titles include "Love Thy Will Be Done", "Nothing Compares 2 U", "Baby You're A Trip", "Manic Monday", "Jungle Love", "Sex Shooter", "Noon Rendezvous", "Make Up", "The Glamorous Life", "Holly Rock", "You're My Love", "100 MPH", "Dear Michaelangelo", "Wouldn't You Love To Love Me", and "Gigolos Get Lonely Too". CD

Get Ready, the first really major album from Rare Earth, is a perfect blend of the rich undercurrents of the heady Detroit scene of the late 60s – at one level a tripped-out rock record with styles that almost hint at MC5, at another level a batch of blue-eyed funky soul, with keen appreciation for the grooves coming out of the headier end of the Motor City indie spectrum! There's lots of tripped-out guitar work on the set – reminiscent of contemporary work by Dennis Coffey and George Clinton – mixed with a Mitch Ryder, R&B-inspired vocal style that actually comes across pretty darn well. Added to this is the group's flat-out ability to jam – showcased best in the side-long title cut "Get Ready" – a massive jammer which runs for nearly 22 minutes, and takes up all of side two! Other tracks include "Train To Nowhere", "Magic Key", "Tobacco Road", and "In Bed". Ecology is some blue-eyed soul from Detroit's Rare Earth. The most popular track from this record was "Born To Wander" but there are some other good ones like "(I Know) I'm Losing You" by the Temptations – Norman Whitfield produced the track for this album and it clocks in at over ten minutes long. Other titles include "Long Time Leavin", "Satisfaction Guaranteed", "Nice Place To Visit", "No 1. Man", and a version of "Eleanor Rigby". CD

Maybe the most lasting classic during the short but important run of Tupac Shakur – the overstuffed album that catapulted him to huge mainstream fame, and which was also the last to be released before his early death. The producers and guests read like a who's who of the harder side of the mainstream spectrum – and include Dr Dre, Snoop Dogg, Redman, Method Man, Kurupt, E-40, The Outlawz, and others – but it's also clear who's going for the crown here, as you'll hear on tracks that include "All Eyez On Me", "California Love (rmx)", "I Ain't Mad At Cha", "2 Of Amerikaz Most Wanted", "Can't C Me", "Heartz Of Men", "Got My Mind Made Up", "Shorty Wanna Be A Thug", "Ain't Hard 2 Find", "Run Tha Streetz", "Picture Me Rollin", "When We Ride", "Thug Passion", "Heaven Ain't Hard 2 Find", and "How Do U Want It". CD

A seminal jazz rock statement from drummer Tony Williams – one that has him stepping out quite far from his original "new thing" recordings of the mid 60s! The album's got a genre-forming sound that's incredibly fierce – a power trio churning of Williams drums, John McLaughlin's guitar, and Larry Young's free-thinking work on organ. The tunes are long and jamming, but also have a tight rhythmic focus that never gets too sloppy – and which virtually set the stage for a whole generation of 70s fusion players in years to come! Young and McLaughlin are especially great – working here with Williams to pound out sheets of sound in a cosmic trippy maze of riffs and grooves, certainly enough to inspire the most addled rocker to head over to the jazz section! Though this set was released as two separate volumes, this double LP version has both albums, and features 8 tracks in all "Emergency", "Beyond Games", "Where", "Vashkar", "Sangria For Three", "Something Spiritual", "Spectrum", and "Via The Spectrum Road". CD

They weren't kidding about the title with this one – because the whole set's pretty darn swinging all the way through! But even better than that, the collection's filled with rare work from a variety of different labels in the Universal Music spectrum, especially MPS – including a fair number of tracks recorded overseas at the end of the 60s and start of the 70s – some really great numbers that offer an unusual side of familiar American players. Titles include "La Petite Mambo" by Billy Taylor, "Speak Low" by Tete Montoliu, "Blue Alexander" by Monty Alexander, "Dark Eyes" by Francy Boland, "How Could You Do A Thing Like That To Me" by Eddie Thompson, "I'm All Smiles" by Hampton Hawes, "Daahoud" by Red Gardland, and "The Oregon Grinder" by Hank Jones. CD