A crucial album in the sound of late 60s Warner – recorded by west coasters The Beau Brummels in the heart of Tennessee, at the legendary studios of country producer Owen Bradley! This meeting of west and country is fantastic – a really incredible extension of earlier folksy rock styles forged by Dylan, Fred Neil, Tim Buckley, and others – handled with incredible care, and a style that's equally honest and ironic – but coming together with a sound that's unlike anything else we can think of – one of those rare few albums that somehow draws from a wealth of inspiration, but manages to make something completely standout in the process – almost a Feelies/Good Earth for its own generation! Tremendous stuff – and titles include "Jessica", "Bless You California", "I'm A Sleeper", "Little Bird", "Turn Around", and "An Added Attraction". CD

A tremendous album from The Beau Brummels – one of the lesser-remembered groups from the late 60s Warner hipster heyday! At some level, the group's a folk-rock outfit – with the left-of-center feel of some of Fred Neil's best work for Capitol, and a similar blend of east coast honesty and west coast mind expansion. The format here is remarkably simple, but handled with some nice touches by producer Lenny Waronker, who really brings a lot more out of the band than on their earlier indie recordings. Titles include "Are You Happy", "The Wolf Of Velvet Fortune", "The Keeper Of Time", "Only Dreaming Now", "Magic Hollow", "Painter Of Women", and "Triangle". CD

Rare work as a leader from trombonist Milt Bernhart – a great player from the west coast scene of the 50s, but one with a tone that's a bit sweeter than that of some of his contemporaries! The CD brings together an LP and EP recorded for RCA in the mid 50s – with arrangements by Jimmy Giuffre, Pete Candoli, Pete Rugolo, Andre Previn, and Shorty Rogers! The first 4 tracks in the set are all octet tracks with Bernhart as the main soloist – sweetly-crafted tunes that have him arcing his trombone in warm lines that really glisten wonderfully. Titles include Jimmy Guiffre originals "Scarf Dance", "Ballade", and "Safari" – plus a version of "Lover Man". These are followed by 13 more from an album titled Modern Brass – a record that has some of the more modern echoes of Milt's work with Stan Kenton, but which also shows the warmer sound of his horn too – making for a nice interplay between modes that goes deeper than the usual RCA set from the time. Other players include Pete Candoli, Red Mitchell, Jack Marshall, Shorty Rogers, John Graas, and Ray Linn – and titles include "Southern Comfort", "Hillside", "Looking For A Boy", "London In July", "Amor Flamenco", and "Lavender". CD

The full orchestral version of the Sweet Smell Of Success soundtrack – but done in a style that's almost as jazzy and swinging as the small combo one! Elmer Bernstein's at the helm here – and the music's a wonderful pastiche of modes that's right up there with his sublime score for The Man With The Golden Arm – done in a similar blend of driving jazz, somber moments, and some slightly more raucous touches! As with that album, the players are all great – and soloists on the album include Pete Candoli, Ted Nash, and Shelly Manne – west coast players despite the New York setting of the film, and playing here with a fair bit of grit in their groove. Titles include "The Street", "Hot Dogs & Juice", "Toots Shor's Blues", "Nite Spot Rock", "Love Scene", and "Out Of Darkness". LP, Vinyl record album

The legendary debut of Black Moon – one of those records that was slept on by the mainstream at the time, but which has gone on to be an undeniable part of hip hop history as the years moved on! The group are part of that great second wave of young east coast talent who really set this edge, and managed to rival some of the attitude of the west, but without falling into cliches and overplayed gimmicks. Part of the record's strength is its excellent Beatminerz production – very standard-setting work – and the set also features guest appearances from scenemates Smif N Wessun and Havoc – on cuts that include the singles "Who Got Da Props" and "I Got Cha Opin" – plus "Powaful Impak", "Ack Like U Want It", "Sh** Iz Real", "Slave", "Make Munne", "How Many MCs", "U Da Man", "Enta Da Stage", "Buck Em Down", and "Make Munne". LP, Vinyl record album

The legendary debut of Black Moon – one of those records that was slept on by the mainstream at the time, but which has gone on to be an undeniable part of hip hop history as the years moved on! The group are part of that great second wave of young east coast talent who really set this edge, and managed to rival some of the attitude of the west, but without falling into cliches and overplayed gimmicks. Part of the record's strength is its excellent Beatminerz production – very standard-setting work – and the set also features guest appearances from scenemates Smif N Wessun and Havoc – on cuts that include the singles "Who Got Da Props" and "I Got Cha Opin" – plus "Powaful Impak", "Ack Like U Want It", "Sh** Iz Real", "Slave", "Make Munne", "How Many MCs", "U Da Man", "Enta Da Stage", "Buck Em Down", and "Make Munne". LP, Vinyl record album

The legendary debut of Black Moon – one of those records that was slept on by the mainstream at the time, but which has gone on to be an undeniable part of hip hop history as the years moved on! The group are part of that great second wave of young east coast talent who really set this edge, and managed to rival some of the attitude of the west, but without falling into cliches and overplayed gimmicks. Part of the record's strength is its excellent Beatminerz production – very standard-setting work – and the set also features guest appearances from scenemates Smif N Wessun and Havoc – on cuts that include the singles "Who Got Da Props" and "I Got Cha Opin" – plus "Powaful Impak", "Ack Like U Want It", "Sh** Iz Real", "Slave", "Make Munne", "How Many MCs", "U Da Man", "Enta Da Stage", "Buck Em Down", and "Make Munne". CD features bonus tracks – "I Got Cha Opin (voc)" and "Buck Em Down (Beatminerz rmx)". CD

A Caribbean group, but one with a much heavier groove than most – much more of a West African vibe overall, with a very heady mix of percussion, bass, and other heady elements! There's a mixed-up, dubby approach to the music that almost recalls Cymande at times – core musical ideas taken nicely far from their roots – not in a way to make them more commercial, but just to shake things up, recombine then, and come up with a sound that's wonderfully unique! The whole thing is every bit as funky as you might expect, and really criss-crosses scenes and styles with a blend of percussion, guitars, flute, kalimba, keyboards, and Arp. The production is great – nice and moody, with just the right current of echo – and all titles were penned by lead singer Oluko Imo, with tracks that include "Ifetayo", "You People", "Saved Musician", "Kilimanjaro", "Aspire", and "Umbala". This edition also features the bonus track "Imo". LP, Vinyl record album

A chilling statement from the west coast scene of the 70s – the first album from The Watts Prophets, the ultra-powerful group who emerged from the LA turmoil of the 60s. Like the Last Poets, the group blends together righteous spoken word passages and some spare rhythms and a touch of jazz – all stepping forth in the kind of message-driven recording that was too powerful for radio at the time, but which had an undeniable influence as it circulated amongst underground circles. The whole thing's summed up perfectly by the cover, which shows a fist held high in rebellion over the flag on the front, and an open hand freeing a black dove on the inside! Titles include "I'll Stop Calling You N*ggers", "Kill", "Black Pussy", and "The Meek Ain't Gonna". LP, Vinyl record album

Initially the only album ever issued by Blahzay Blahzay – a set that came out right in the middle of a real golden age of 90s hip hop – and right up there with some of the best of the New York scene! Outloud handles the lyrics, PF Cuttin delivers the beats and scratches – and the whole thing's got the kind of rock-solid, double-length quality of some of the best Payday releases of the same time – just the right balance between street toughness and a more thoughtful current that balances things out – really tempering any of the posturing on some of the cuts – that special subtle style the east coast could do so well in contrast to rising scenes west. Titles include "Danger (parts 1 & 2)", "Blah Blah Blah", "Don't Let This Rap Sh*t Fool You", "Pain I Feel", "Posse Jumpa", "Sendin Dem Back", "Long Winded", "Jackpot", and "Good Cop Bad Cop". LP, Vinyl record album

Killer work from this funky Finnish combo – a group who celebrate a strong decade in music with this really wonderful set! The Blassics bring in all the right sort of influences from African funk of years back, especially Ethiopian music – and they spin out tracks that are often nice and long, and which feature some tremendous jazzy solos from the horn section – players stepping out from the ensemble for individual expressions, and not just vamping with the rhythms! The rest of the instrumentation is great too – well-crafted, and shaded with all sorts of tones that really deepen the music in personal ways, and don't just echo styles of the past. Titles include "Afrohustler", "Special Occasion", "Ruff Strut", "West Side Glory", "Swazi Funk", "Yeketema Set", and "Hagerun Geleba". CD

Four lost albums from David Blue – a really compelling singer/songwriter, ripe for rediscovery! First up is These 23 Days In September, recorded for Reprise – a really moody little record from David Blue – a folksy singer who's got a style that definitely lives up to the melancholy promise of his name! Blue's definitely an artist with a difference – working in the familiar mode of vocals and acoustic guitar, but with an edge and distinctness that really sets him apart from the folkies of a few year before – that sense of different that really set apart a new wave of contemporaries, like Leonard Cohen, Fred Neill, or Tom Rapp. Titles include "These 23 Days In September", "The Sailor's Lament", "Scales For A Window Thief", "You Will Come Back Again", "Slow & Easy", and "The Grand Hotel". Stories is an overlooked early set on Asylum – the kind of really special singer/songwriter material that really set the label apart at the start of the 70s! David Blue has this compelling vocal style that's moody, but down to earth – inflected here and there with guitar contributions from Ry Cooder, who's understated, but really brings out some special qualities in the tunes. Jack Nitzsche adds in some light strings at points – but overall, things are pretty spare and personal – and titles include "Looking For A Friend", "Another One Like Me", "Sister Rose", "The Blues", "Come On John", "Marianne", and "Fire In The Morning". Nice Baby & The Angel shows David Blue really starting to get some star power in his mix – a fuller set, produced by Graham Nash – with work from Nash on guitar, plus more guitar from Dave Mason and David Lindley – in a nice mix of roots elements, but which never overwhelm that unique sense of songwriting and vocals that set David Blue apart from the rest. Titles include "Darlin Jenny", "Troubadour Song", "Train To Anaheim", "True To You", "On Sunday Any Sunday", and "Outlaw Man". On the cover of Cupid's Arrow, David Blue might look a bit cheesy, what with his open shirt and all – but he's definitely the real deal, and very down to earth in his singer/songwriter approach – with a quality that's only underscored by the lineup on the set – a group that features Levon Helm on drums, Jesse Ed Davis on guitar, David Lindley on mandolin and slide, and Barry Goldberg on piano and organ, and also handling production of the album too. The shift from David's roots is a bit like that taken by other contemporaries who once started in more folksy territory, then found a new way to grow in the west coast singer/songwriter scene – and that means that things are more electrified, but still quite far from mainstream music – with original tunes from Blue throughout, and titles that include "I Feel Bad", "Maria Maria", "Primeval Tune", She's Got You", "Tom's Song", and "Run Run Run". CD

A pair of classic albums, served up here in a single set! First up is the sound of Angola, circa 1972 – served up here in a beautiful album of songs from Bonga! The music is relatively spare – mostly just lead acoustic guitar, bass, and percussion – the latter of which is played by Bonga himself, almost always with this lively quality that really matches his vocals – which themselves are filled with all these fantastic inflections that almost remind us of salsa singers of the time – no surprise, given how much Latin music styles were hitting the scene in West Africa during the 60s and 70s. But the style here is very different, too – as Bonga's richly expressive in the way he uses his voice – almost more folkloric, given the acoustic guitar instrumentation – yet surprisingly powerful too, despite the spareness. Titles include "Ku Tando", "Balumukeno", "Uengi Dia Ngola", "Paxi Ni Ngongo", "Muimbo Ua Sabalu", and "Muadikime". Angola 74 is a beautifully sophisticated setting for the voice of Bonga – as he works here with lively small group backings, and a bit of larger orchestrations as well! There's this fantastic blend of folk roots and modernism in the music – maybe a bit like some of the more experimental work from Havana at the time, but a bit like some Brazilian projects too – as the enigmatic vocal inflections of the leader mix with his own percussion – all given nice shadings in color by acoustic guitar. Titles include "Venda Poro", "Kubangela", "Ma Kongo", "Kinga Kueta", "Ghinawa", "Roots", and "Marika". CD

A pair of classic albums, served up here in a single set! First up is the sound of Angola, circa 1972 – served up here in a beautiful album of songs from Bonga! The music is relatively spare – mostly just lead acoustic guitar, bass, and percussion – the latter of which is played by Bonga himself, almost always with this lively quality that really matches his vocals – which themselves are filled with all these fantastic inflections that almost remind us of salsa singers of the time – no surprise, given how much Latin music styles were hitting the scene in West Africa during the 60s and 70s. But the style here is very different, too – as Bonga's richly expressive in the way he uses his voice – almost more folkloric, given the acoustic guitar instrumentation – yet surprisingly powerful too, despite the spareness. Titles include "Ku Tando", "Balumukeno", "Uengi Dia Ngola", "Paxi Ni Ngongo", "Muimbo Ua Sabalu", and "Muadikime". Angola 74 is a beautifully sophisticated setting for the voice of Bonga – as he works here with lively small group backings, and a bit of larger orchestrations as well! There's this fantastic blend of folk roots and modernism in the music – maybe a bit like some of the more experimental work from Havana at the time, but a bit like some Brazilian projects too – as the enigmatic vocal inflections of the leader mix with his own percussion – all given nice shadings in color by acoustic guitar. Titles include "Venda Poro", "Kubangela", "Ma Kongo", "Kinga Kueta", "Ghinawa", "Roots", and "Marika". LP, Vinyl record album

Not west coast, but "best coast" jazz – a prime example of the way the Clifford Brown/Max Roach team helped to cook up the intensity of the LA scene of the 50s by infusing it with a bit of New York fire! The album takes off in the extended mode of Clifford's All Stars album – and like that one, features Max Roach on drums alongside a lineup of players that includes Herb Geller and Joe Maini on alto saxes, Walter Benton on tenor, Kenny Drew on piano, and Curtis Counce on bass – all jamming together in really extended, side-long tracks that have plenty of space for creative solo work and free-flowing improvisation! The format's a very unusual one for the 50s – and a great side-stream to the better-known Brown/Roach albums – with the 2 long tracks "Coronado" and "You Go To My Head". LP, Vinyl record album

Not west coast, but "best coast" jazz – a prime example of the way the Clifford Brown/Max Roach team helped to cook up the intensity of the LA scene of the 50s by infusing it with a bit of New York fire! The album takes off in the extended mode of Clifford's All Stars album – and like that one, features Max Roach on drums alongside a lineup of players that includes Herb Geller and Joe Maini on alto saxes, Walter Benton on tenor, Kenny Drew on piano, and Curtis Counce on bass – all jamming together in really extended, side-long tracks that have plenty of space for creative solo work and free-flowing improvisation! The format's a very unusual one for the 50s – and a great side-stream to the better-known Brown/Roach albums – with the 2 long tracks "Coronado" and "You Go To My Head". CD also features a shorter rehearsal take of "Coronado". CD

Not west coast, but "best coast" jazz – a prime example of the way the Clifford Brown/Max Roach team helped to cook up the intensity of the LA scene of the 50s by infusing it with a bit of New York fire! The album takes off in the extended mode of Clifford's All Stars album – and like that one, features Max Roach on drums alongside a lineup of players that includes Herb Geller and Joe Maini on alto saxes, Walter Benton on tenor, Kenny Drew on piano, and Curtis Counce on bass – all jamming together in really extended, side-long tracks that have plenty of space for creative solo work and free-flowing improvisation! The format's a very unusual one for the 50s – and a great side-stream to the better-known Brown/Roach albums – with the 2 long tracks "Coronado" and "You Go To My Head". LP, Vinyl record album

An unbelievable recording! As Archie Shepp made his first album for Impulse a tribute to Coltrane, Marion Brown made his a tribute to Shepp – a wonderful lineage of avant talent in the 60s, stated boldly here, given Brown's amazing talent on the record! The album's filled with hard, soulful playing that goes out, but never too far – like Shepp in his best sixties moments – and Brown's working with a great lineup of players that includes Grachan Moncur on trombone, Beaver Harris on drums, and Stanley Cowell on piano! The tunes include three Marion Brown originals on side one, plus three tracks by Shepp on side two. "Spooks" alone will leave you loving this album for years to come – and other tracks include "West India", "Delicado", "New Blue", and "Fortunato". A brilliant blend of 60s "new thing" playing and 70s underground jazz! CD

An unbelievable recording! As Archie Shepp made his first album for Impulse a tribute to Coltrane, Marion Brown made his a tribute to Shepp – a wonderful lineage of avant talent in the 60s, stated boldly here, given Brown's amazing talent on the record! The album's filled with hard, soulful playing that goes out, but never too far – like Shepp in his best sixties moments – and Brown's working with a great lineup of players that includes Grachan Moncur on trombone, Beaver Harris on drums, and Stanley Cowell on piano! The tunes include three Marion Brown originals on side one, plus three tracks by Shepp on side two. "Spooks" alone will leave you loving this album for years to come – and other tracks include "West India", "Delicado", "New Blue", and "Fortunato". A brilliant blend of 60s "new thing" playing and 70s underground jazz! CD

An unbelievable recording! As Archie Shepp made his first album for Impulse a tribute to Coltrane, Marion Brown made his a tribute to Shepp – a wonderful lineage of avant talent in the 60s, stated boldly here, given Brown's amazing talent on the record! The album's filled with hard, soulful playing that goes out, but never too far – like Shepp in his best sixties moments – and Brown's working with a great lineup of players that includes Grachan Moncur on trombone, Beaver Harris on drums, and Stanley Cowell on piano! The tunes include three Marion Brown originals on side one, plus three tracks by Shepp on side two. "Spooks" alone will leave you loving this album for years to come – and other tracks include "West India", "Delicado", "New Blue", and "Fortunato". A brilliant blend of 60s "new thing" playing and 70s underground jazz! CD

An unbelievable recording! As Archie Shepp made his first album for Impulse a tribute to Coltrane, Marion Brown made his a tribute to Shepp – a wonderful lineage of avant talent in the 60s, stated boldly here, given Brown's amazing talent on the record! The album's filled with hard, soulful playing that goes out, but never too far – like Shepp in his best sixties moments – and Brown's working with a great lineup of players that includes Grachan Moncur on trombone, Beaver Harris on drums, and Stanley Cowell on piano! The tunes include three Marion Brown originals on side one, plus three tracks by Shepp on side two. "Spooks" alone will leave you loving this album for years to come – and other tracks include "West India", "Delicado", "New Blue", and "Fortunato". A brilliant blend of 60s "new thing" playing and 70s underground jazz! LP, Vinyl record album

An excellent collection of early Decca 78rpm material by these western swing legends – with Cliff Bruner on fiddle and Bob Dunn on electric steel! LP, Vinyl record album

Unreleased live material from the legendary Dave Brubeck Quartet – recorded at a time when the group was really making waves with its famous albums on Columbia Records, and playing here with a much more open, extended style than on those more compact LPs! The lineup features Dave on piano, Paul Desmond on alto, Gene Wright on bass, and Joe Morello on drums – and the set features long takes of "That Lonesome Road", "Gone With The Wind", "Two Part Contention", "Basin Street Blues", and "When The Saints Go Marching In" – all given that very personal, very modern Dave Brubeck spin! LP, Vinyl record album

Peabo Bryson's early efforts for Capitol – Reaching For The Sky and Crosswinds in a 2CD set! Reaching For The Sky is a sublime blend of modern soul that's light years ahead of any of his later work. Part of the credit goes to Richard Evans – who's worked out these wonderfully smooth stepping arrangements that are a perfect accompaniment for Peabo's deep voice, but which also avoid any of the syrupy indulgence of later records. And sure, Peabo's still got that expressive tone – but he's keeping it mean and lean to let the music keep on going strongly. Titles include "Reaching For The Sky", "Hold On To The World", "Love From Your Heart", "Love Walked Out On Me", "You Haven't Learned About Love", and "Feel The Fire". Crosswinds is sweet, smooth, and soulful work from Peabo – a perfect little record that captures him at a point when he was definitely tightening up his act, but not falling into the soppier traps of later years! Production here is shared by Peabo with the great Johnny Pate – who seems to have a great ear for Bryson's maturing style – managing to couch the vocals in some of the more sophisticated modes formulated on the Chicago scene in previous years, but also with a bit of the west coast modern twist that Capitol was really bringing to the table in the soul business at the time! All tunes are originals by Peabo, and titles include "Crosswinds", "Smile", "She's A Woman", "Love Is Watching You", and "Don't Touch Me". The set includes 3 bonus tracks: "Reaching For The Sky (Edit)", "I'm So Into You" and "Crosswinds (Single Version)". CD

A rare score from the legendary Roy Budd – one done for a 70s sci-fi western, and which has a great mix of modes to reflect that twist in the story! Some tunes have very familiar western elements – a nice surprise, given that Budd didn't work in the genre that much – and these are mixed with darker, moodier elements as the larger story is revealed – creating a cool sonic juxtaposition that really echoes the action on the screen! The approach is much less jazz than earlier Roy Budd, and comes from a time when he was really pinning big hopes on scoring more American work in Los Angeles – which you can hear in the style. CD features 20 tracks from the film – plus 7 more bonus tracks from the film The Sandbaggers! CD

The landmark first album from Buffalo Springfield – a warmly collaborative record that would set the scene for countless work to come from the LA scene! Right from the start, there's something special going on here – a bit of the twang the Byrds were exploring at the time, and a very strong move past any sort of folk tendencies any of the group members might have had a few years before – but all without going into some of the too-sunny styles that were peaking in west coast pop. Instead, there's this current of darkness and subtle wit that really shines through – all without any psychedelic indulgence, and balanced perfectly amidst the guitars of Steven Stills, Richie Furay, and Neil Young – each of whom get a chance to sing on the record too. Bassist Bruce Palmer and drummer Dewey Martin complete the group – and titles include the classic "For What It's Worth" – plus "Nowadays Clancy Can't", "Leave", "Pay The Price", "Burned", "Do I Have To Come Right Out & Say It", and "Everybody's Wrong". Cassette

The landmark first album from Buffalo Springfield – a warmly collaborative record that would set the scene for countless work to come from the LA scene! Right from the start, there's something special going on here – a bit of the twang the Byrds were exploring at the time, and a very strong move past any sort of folk tendencies any of the group members might have had a few years before – but all without going into some of the too-sunny styles that were peaking in west coast pop. Instead, there's this current of darkness and subtle wit that really shines through – all without any psychedelic indulgence, and balanced perfectly amidst the guitars of Steven Stills, Richie Furay, and Neil Young – each of whom get a chance to sing on the record too. Bassist Bruce Palmer and drummer Dewey Martin complete the group – and titles include the classic "For What It's Worth" – plus "Nowadays Clancy Can't", "Leave", "Pay The Price", "Burned", "Do I Have To Come Right Out & Say It", and "Everybody's Wrong". CD

Produced by Kanye West. 12-inch, Vinyl record

A pretty great and very strange album by avant pianist Dave Burrell! Side one features an extended tune called "West Side Story", which is basically a medley of tunes from the musical, played with a nice dark edge by Burrell and a trio, plus additional tambourine work by Pharoah Sanders! Side three features "East Side Colors", a great track in the ESP avant mode – and one that features killer drum work by Sonny Murray, and some fierce piano by Burrell. The set closes with the jaunty "Margy Pargy", a short straight tune with almost an old-timey feel to it. Weird, but one of Burrell's more compelling albums. Other tracks include "Theme Stream", "Bittersweet Reminiscence", and "Dave Blue". LP, Vinyl record album

A collection put together in the 80s of Jerry Butlers fantastic material from the late 60s when he went to Philly to work with the then young Gamble and Huff team. A dozen classic numbers in all, including "Only The Strong Survive", "A Brand New Me", "Never Give You Up", "I Could Write A Book", "Just Because I Really Love You", "Hey, Western Union Man", "Lost", 'Are You Happy", "Moody Woman", "What's The Use Of Breaking Up", "Don't Let Love Hang You Up" and "Got To See If I Can't Get Mommy (To Come Back Home)". LP, Vinyl record album

The birth of a legend – a smoking double-length collection of early work from Paul Butterfield and his Blues Band – a group that forever changed the sound of rock in the 70s, thanks to the way in which they really pushed their blues influences into great new territory for the psych and harder rock crowd! Butterfield was the real deal, right from the start – a young kid playing in Chicago blues bars on the south side, which gave him plenty of experience by the time he banded together with the key musicians who'd help him forge his groove – Mike Bloomfield and Elvin Bishop, both masters of guitar whose work alongside Butterfield's vocals and harmonica really helped the music cook. Other players come into the mix along the way too, including the great Nick Gravenites – and the group sometimes add in more horns to further expand the soulful sound of their music. Titles include "Look Over Yonder's Wall", "Walkin Blues", "East West", "Spoonful", "One More Mile", "Mary Mary", "Born In Chicago", "Love March", "Last Hope's Gone", and "One More Heartbeat". CD

Includes the songs "Please Don't Talk About Me When I'm Gone", "Mad Monk", "Billie's Bounce", "I Surrender Dear", "Red Cross","Dynamo A", "Summertime", "Stardust", "Old Man River", "Night And Day", "The Man I Love", "Georgia On My Mind", "Easy To Love", "Over The Rainbow", "Where Or When", "En Ce Temps-La", "Somebody Loves Me", "Riviera Blues (Blues A la Don)", "Laura", and "Smoke Gets In Your Eyes". CD

Beautiful bass work from 50s LA player Red Callender – heard here on his classic Swingin Suite album for Modern, plus tracks from the MGM album Lowest! Swingin Suite is easily one of Red's tightest sessions – a date that has Callender's basslines strongly leading a nonet of players that includes Harry Jones on trumpet, John Ewing on trombone, Willie Green on alto sax, and Buddy Collette on flute and tenor. Collette's lines have a nice sharp edge throughout, and soar out beautifully amidst the bigger backings – and although a "suite", the whole session's got a much more relaxed feel than that compositional title might make you think. Tracks include "On Again", "Greenery", "Pastel", "Dancers", "October Blue", "Bihari", "Skyline", and "Outlines". The remaining tracks on the set were recorded as part of Callender's Lowest album for MGM – a set of both bass and tuba work. Tracks included here feature Callender on bass only, with Gerald Wilson on trumpet and Collette again on flute and tenor. Titles include "Another Blues", "Volume Too", "Five Four Blues", "Pickin Pluckin Whistlin & Walkin", and "Tea For Two". CD

A brilliant tribute to one of the greatest jazz trumpeters of the 50s – featuring 3 full albums of material, plus some bonus tracks as well! Conte Candoli is a name that's appeared on countless sessions as a sideman or studio player, but here, Conte really sparkles as a leader – setting fire amidst some great small group lineups that include the players Bill Holman, Lou Levy, Lawrence Marable, Leroy Vinnegar, Max Bennett, Stan Levey, and Ira Sullivan. The set features material from 2 Bethlehem albums by Conte – Sincerely Conte and Powerhouse Trumpet – plus an Atlantic album, West Coast Wailers – and a rare 78rpm session for the Chicago-based Chance label, and a few additional tunes from a New York session in 1956 with Hank Jones! Conte's never sounded better – and with all this material in one place, the 2CD set is a great bargain overall. 30 tracks in all – with titles that include "Mambo Junior", "Flamingo", "TNT", "Thank You Judge", "Comes Love", "Tune For Tex", "Fine & Dandy", "Night Flight", "Toot Sweet", "Jazz City Blues", "Four", "Groovin Higher", "Lover Man", "Pete's Alibi", "Cheremoya", and "Jordu". CD

Maybe the greatest moment ever from Caravan – one of the greatest groups to emerge from the jazzy Canterbury scene in the late 60s! The album's a wonderful blend of jazz roots and more focused rock impulses – and has some subtle funky elements that's given it a wider sort of audience over the years – that special sound you'd find in a rare few Deram gems by artists like Mike Westbrook or Colosseum too. The drums are especially great – snapping out in a way that really holds things together, even when the instrumental solos really step out strongly – especially the organ, flute, and tenor – all of which retain a jazzy appeal. The vocals from Richard Sinclair are nice, too – never overdone, with almost a Robert Wyatt sort of reserve – and titles include "Golf Girl", "Love To Love You", "In The Land Of Grey & Pink", and the extended "Nine Feet Underground", which takes up all of side two. CD features bonus tracks – the unreleased "I Don't Know Its Name", "Aristocracy", "Group Girl", and "It's Likely To Have A Name Next Week" – and a new mix of "Disassociation/100% Proof". CD

The last album in a legendary run of music from keyboardist Doug Carn – his final album for the Black Jazz label, and a set that pushes even farther than his previous efforts! Jean Carn isn't in the group this time around, but the set does feature a totally great twin-vocal approach – with singing by Joyce Green and John Conner, blending their voices together in a style that's right up there with the most righteous 70s jazz experiments by Horace Silver or Billy Gault! This vocal balance really brings a new sort of power to Carn's music – furthering the righteous spirit of earlier years with a hell of a lot of energy – also aided by great instrumental work from Ronnie Laws on tenor and soprano sax, Thurman Green on trombone, Calvin Keys and Nathan Page on guitars, and Big Black on percussion. Titles include the classic "Higher Ground" – plus "Adam's Apple", "Western Sunrise", "Chant", "Sanctuary", "The Messenger", and "Mighty Mighty". CD

The last album in a legendary run of music from keyboardist Doug Carn – his final album for the Black Jazz label, and a set that pushes even farther than his previous efforts! Jean Carn isn't in the group this time around, but the set does feature a totally great twin-vocal approach – with singing by Joyce Green and John Conner, blending their voices together in a style that's right up there with the most righteous 70s jazz experiments by Horace Silver or Billy Gault! This vocal balance really brings a new sort of power to Carn's music – furthering the righteous spirit of earlier years with a hell of a lot of energy – also aided by great instrumental work from Ronnie Laws on tenor and soprano sax, Thurman Green on trombone, Calvin Keys and Nathan Page on guitars, and Big Black on percussion. Titles include the classic "Higher Ground" – plus "Adam's Apple", "Western Sunrise", "Chant", "Sanctuary", "The Messenger", and "Mighty Mighty". CD

The last album in a legendary run of music from keyboardist Doug Carn – his final album for the Black Jazz label, and a set that pushes even farther than his previous efforts! Jean Carn isn't in the group this time around, but the set does feature a totally great twin-vocal approach – with singing by Joyce Green and John Conner, blending their voices together in a style that's right up there with the most righteous 70s jazz experiments by Horace Silver or Billy Gault! This vocal balance really brings a new sort of power to Carn's music – furthering the righteous spirit of earlier years with a hell of a lot of energy – also aided by great instrumental work from Ronnie Laws on tenor and soprano sax, Thurman Green on trombone, Calvin Keys and Nathan Page on guitars, and Big Black on percussion. Titles include the classic "Higher Ground" – plus "Adam's Apple", "Western Sunrise", "Chant", "Sanctuary", "The Messenger", and "Mighty Mighty". LP, Vinyl record album

The last album in a legendary run of music from keyboardist Doug Carn – his final album for the Black Jazz label, and a set that pushes even farther than his previous efforts! Jean Carn isn't in the group this time around, but the set does feature a totally great twin-vocal approach – with singing by Joyce Green and John Conner, blending their voices together in a style that's right up there with the most righteous 70s jazz experiments by Horace Silver or Billy Gault! This vocal balance really brings a new sort of power to Carn's music – furthering the righteous spirit of earlier years with a hell of a lot of energy – also aided by great instrumental work from Ronnie Laws on tenor and soprano sax, Thurman Green on trombone, Calvin Keys and Nathan Page on guitars, and Big Black on percussion. Titles include the classic "Higher Ground" – plus "Adam's Apple", "Western Sunrise", "Chant", "Sanctuary", "The Messenger", and "Mighty Mighty". LP, Vinyl record album

A bracingly simple album from Benny Carter – one recorded with small group west coast backing, in a style that really lets us focus on his wonderful tone! The set's one of Carter's most obscure from later years – a 1960 session recorded with Jimmy Rowles on piano, Leroy Vinnegar on bass, and Mel Lewis on drums – and mostly featuring older numbers interpreted by Carter with a great deal of charm, and simple but effective work on the solos. Benny plays alto on most of the set, but also overdubs tenor on 2 tracks, and plays a bit of soprano on another. Titles include "Ennui", "Moon Of Manakoora", "I Should Care", "Far Away Places", "Friendly Islands", "Understand", and "All Or Nothing At All". CD

A bracingly simple album from Benny Carter – one recorded with small group west coast backing, in a style that really lets us focus on his wonderful tone! The set's one of Carter's most obscure from later years – a 1960 session recorded with Jimmy Rowles on piano, Leroy Vinnegar on bass, and Mel Lewis on drums – and mostly featuring older numbers interpreted by Carter with a great deal of charm, and simple but effective work on the solos. Benny plays alto on most of the set, but also overdubs tenor on 2 tracks, and plays a bit of soprano on another. Titles include "Ennui", "Moon Of Manakoora", "I Should Care", "Far Away Places", "Friendly Islands", "Understand", and "All Or Nothing At All". LP, Vinyl record album

A fantastic LP by Betty Carter – and one of the first she issued on her own Bet-Car label, which she formed after years of being screwed by the music industry! The groove is extremely soulful – and backing is by Norman Simmons on piano, Lisle Atkinson on bass, and Al Harewood on drums. Titles include Betty's own "Please Do Something", her great version of Randy Weston's "Ego", and her always-great rendition of "By The Bend In The River". LP, Vinyl record album

A beautiful album by Ron Carter – and quite rare, too! The record features a group that's got a nice 70s modal soul jazz sound – with players that include Herbie Hancock on acoustic and electric piano, Hubert Laws on flute, Sam Brown on guitar, and both Billy Cobham and Grady Tate on drums – all working in sweet small group mode alongside Carter's excellent work on acoustic and Fender bass. The sound is sometimes spacey, sometimes groovy – and marks a key chapter in Carter's career, one that has him stepping out of the background into a great role as a leader – setting the stage for many more albums to come in the 70s! Titles include the very funky "Uptown Conversation", plus the tracks "Half A Row", "Doom", "Little Waltz", "Ten Strings" and "Einbahnstrasse". Very soulful, with a stone mellow moody groove! CD

A haunting and unusual batch of tracks from bassist Ron Carter – working here with a group that includes spiritual modernists Eric Dolphy on reeds and Mal Waldron on piano – both players who really add a lot to the set! In a way, the album's more like Dolphy's own work as a leader from the time than the sort of music usually associated with Carter – and Ron really seems to let the reedman shape the overall sound of the set with his tremendous work on alto, flute, and bass clarinet. Carter plays a bit of cello in addition to his bass – giving the record a nicely eerie sound at points – and Waldron's piano, as always, is excellent during this point in his career. Titles include Randy Weston's "Where" and "Saucer Eyes", plus "Bass Duet", which features Carter dueting with George Duvivier, and a very nice version of "Softly As In A Morning Sunrise". LP, Vinyl record album

A haunting and unusual batch of tracks from bassist Ron Carter – working here with a group that includes spiritual modernists Eric Dolphy on reeds and Mal Waldron on piano – both players who really add a lot to the set! In a way, the album's more like Dolphy's own work as a leader from the time than the sort of music usually associated with Carter – and Ron really seems to let the reedman shape the overall sound of the set with his tremendous work on alto, flute, and bass clarinet. Carter plays a bit of cello in addition to his bass – giving the record a nicely eerie sound at points – and Waldron's piano, as always, is excellent during this point in his career. Titles include Randy Weston's "Where" and "Saucer Eyes", plus "Bass Duet", which features Carter dueting with George Duvivier, and a very nice version of "Softly As In A Morning Sunrise". CD

One of the most compelling albums ever recorded by guitarist Eugene Chadbourne – a set billed as "free improvised country and western bebop" – and which features Chadbourne serving up these wild variations on tunes by Carl Perkins, Roger Miller, David Allen Coe, Bobby Bare, Merle Haggard, and other country music legends! The album's much more Eugene than Nashville – although Chadbourne does sing lyrics on all of the tunes, but in a way that's very offbeat and hardly unlike the originals at all – as is his guitar work, which is acoustic and all twisted and turned up in all the offbeat phrasings you might expect! Much of the record is Chadbourne on vocals and electric dobro – but the set also features some drums by David Licht, saxes from John Zorn, and cello from Tom Cora. Titles include "The Last Word In Lonesome Is Me", "I'm The Only Hell My Mama Ever Raised", "Georgia In A Jug", "Motel Time Again", "Dang Me", "Window Shopping", "Jealous Loving Heart", "Mr Record Man", and "Swingin Doors". CD

A seminal set from Cheap Trick – a group who had already cut some excellent studio albums before this one, but who somehow finally reached huge fame in the mainstream with this classic concert release! The album is one of the greatest, most iconic live rock records of its era – in which the to that point under-appreciated Cheap Trick (in the US at least – as you can hear the wild screams, they had the love elsewhere) midwestern powerpop progenitors FINALLY broke through and cemented their legend! LP, Vinyl record album

A seminal set from Cheap Trick – a group who had already cut some excellent studio albums before this one, but who somehow finally reached huge fame in the mainstream with this classic concert release! The album is one of the greatest, most iconic live rock records of its era – in which the to that point under-appreciated Cheap Trick (in the US at least – as you can hear the wild screams, they had the love elsewhere) midwestern powerpop progenitors FINALLY broke through and cemented their legend! As great as the original live album was (and still is), it always felt truncated, and it was – until this long-waited complete concert was released! Most of the greatest cuts from the first few albums are represented, including "Come On, Come On", "I Want You To Want Me" (of course!), "Big Eyes", "ELO Kiddies", "Need Your Love", "High Roller", "Auf Wiedersehen", "California Man", "Surrender" and more. CD

Chicago's second album – not as familiar as the first, and with some really great moments! The group is working here in the same extended-length format as on their debut, going for some more complicated tunes spread across the album's double length – jazzy riffing still firmly in place, and going for some vocal moments that almost have a nice Brother-era Beach Boys sound to them. Includes the great "Make Me Smile", plus the cuts "Poem For The People", "In The Country", "Wake Up Sunshine", "25 Or 6 To 4", "To Be Free", "Fancy Colours", "West Virginia Fantasies", "Where Do We Go From Here", and "Memories Of Love". More grooves than you might remember, too! LP, Vinyl record album

Chicago's second album – not as familiar as the first, and with some really great moments! The group is working here in the same extended-length format as on their debut, going for some more complicated tunes spread across the album's double length – jazzy riffing still firmly in place, and going for some vocal moments that almost have a nice Brother-era Beach Boys sound to them. Includes the great "Make Me Smile", plus the cuts "Poem For The People", "In The Country", "Wake Up Sunshine", "25 Or 6 To 4", "To Be Free", "Fancy Colours", "West Virginia Fantasies", "Where Do We Go From Here", and "Memories Of Love". More grooves than you might remember, too! CD

A soaring set from the later years of Detroit funk powerhouse Westbound Records – a record that has the label moving into clubbier territory, but with all the sharpness they brought to their earlier releases! Detroit producers Mike Theodore and Dennis Coffey are at the helm of the record – and although the set has disco elements that include chorus vocals and upbeat rhythms, the approach is maybe more in a fast funk style than more commercial work of the time – which keeps things nice and lean throughout, at a level that's similar to early work from T Connection and some of the hipper groups of their scene! Both Motown legend Earl Van Dyke and Dennis Coffey play on the album – and tracks include "We Got Our Own Thing", "Free To Be Me", "Get A Groove In Order To Move", and "Sure Can't Go To The Moon". LP, Vinyl record album

A soaring set from the later years of Detroit funk powerhouse Westbound Records – a record that has the label moving into clubbier territory, but with all the sharpness they brought to their earlier releases! Detroit producers Mike Theodore and Dennis Coffey are at the helm of the record – and although the set has disco elements that include chorus vocals and upbeat rhythms, the approach is maybe more in a fast funk style than more commercial work of the time – which keeps things nice and lean throughout, at a level that's similar to early work from T Connection and some of the hipper groups of their scene! Both Motown legend Earl Van Dyke and Dennis Coffey play on the album – and tracks include "We Got Our Own Thing", "Free To Be Me", "Get A Groove In Order To Move", and "Sure Can't Go To The Moon". CD

A long-overdue look at the amazing Clark Sisters – a fantastic gospel group, and one with a vocal depth that we'd put right up there next to any of our favorite soul acts of the time! The Clarks are maybe best known for their landmark track "You Brought The Sunshine" – a completely righteous blend of gospel, soul, and disco that crossed over very big back in the day – but the group have an endless amount of great music to offer, a great deal of which is brought together in this wonderful set! The sisters always kept a strong ear towards the secular soul styles of their day – but they also always pushed things with the sort of amazing vocal interplay that used to only be the territory of male gospel groups in earlier decades – fantastic harmonies, soaring leads, and really great group formation. And if you're not a completely huge fan of gospel, don't worry – because the message here is often a more general one of positivity, which really lifts up the spirit of the tunes in a universal way. Titles include "You Brought The Sunshine (single edit)", "Everything Is Gonna Be Alright", "He Keeps Me Company", "Patience", "I'm Going To Have Just What I Want", "Power", "Overdose Of The Holy Ghost", "My Mind Is Made Up", "Nothing To Lose All To Gain", "No Other Name", "Keep On Looking Up", and "I Found What I'm Looking For". CD

A really great little live jazz date from the mid 50s – one that features a unique pairing of east and west coast players, working together as part of a Birdland Stars package tour! The group's an exceptionally balanced one – with players who are all strong enough to work together seamlessly, but who each bring together something different to the date – especially in the blend of west coast cool and east coast hot that comes up during some of the horn passages! Trumpets are by Kenny Dorham and Conte Candoli, tenor by Al Cohn, alto by Phil Woods, piano by Hank Jones, bass by John Simmons, and drums by Kenny Clarke – and with a balance like that, there's probably a bit more "east" than "west" on the set – but that's ok with us! The style is similar to some of the RCA work cut by Cohn or Woods, but a lot more open overall – tracks that are looser and less arranged, with some really great room for solos. CD features volumes 1 and 2 of the albums – 14 titles that include "Phil Er Up", "Roulette", "Last Lap", "Hip Boots", "For Kicks Only", "Playboy", "Ah Funky New Baby", Birdland Fantasy", and "Minorin The Blues". Tracks are all originals by Manny Albam and Ernie Wilkins! CD

A nice little session that's one of Nat's last great vocal albums – thanks to some solid jazz backing by George Shearing. Shearing's group here is a super-hip west coast Latin one, with Emil Richards on vibes, Al Hendrickson on guitar, Al McKibbon on bass, and Shelly Manne on drums. Most tracks have them augmented by some larger backings by Ralph Carmichael – which creates this dreamy jazzy pillow for Nat to sing over. Cole's voice is still super-sweet and super-sexy, and the record is a good mix of ballads and more jazzy material. Titles include "Lost April", "Azure-Te", "September Song", "Don't Go", "There's A Lull In My Life", and "Serenata". LP, Vinyl record album

A nice little session that's one of Nat's last great vocal albums – thanks to some solid jazz backing by George Shearing. Shearing's group here is a super-hip west coast Latin one, with Emil Richards on vibes, Al Hendrickson on guitar, Al McKibbon on bass, and Shelly Manne on drums. Most tracks have them augmented by some larger backings by Ralph Carmichael – which creates this dreamy jazzy pillow for Nat to sing over. Cole's voice is still super-sweet and super-sexy, and the record is a good mix of ballads and more jazzy material. Titles include "Lost April", "Azure-Te", "September Song", "Don't Go", "There's A Lull In My Life", and "Serenata". Plus, the CD includes 3 bonus tracks not on the original album! CD

A nice little session that's one of Nat's last great vocal albums – thanks to some solid jazz backing by George Shearing. Shearing's group here is a super-hip west coast Latin one, with Emil Richards on vibes, Al Hendrickson on guitar, Al McKibbon on bass, and Shelly Manne on drums. Most tracks have them augmented by some larger backings by Ralph Carmichael – which creates this dreamy jazzy pillow for Nat to sing over. Cole's voice is still super-sweet and super-sexy, and the record is a good mix of ballads and more jazzy material. Titles include "Lost April", "Azure-Te", "September Song", "Don't Go", "There's A Lull In My Life", and "Serenata". Plus, the CD includes 3 bonus tracks not on the original album! CD

A rare moment in the major label spotlight for George Coleman – an early 90s session for Verve, and one that should have gotten him the same sort of ongoing recognition as contemporary sessions at the label by JJ Johnson, Randy Weston, and Joe Henderson! The format here is spare, but nicely varied – with Coleman on a tenor, soprano, and alto saxes alongside a trio of Harold Mabern on piano, Ray Drummond on bass, and Billy Higgins on drums. With a rhythm section that strong, you could almost throw just about any player up against them and get something great – but Coleman's also really pushing to the forefront of the tunes on most numbers, blowing with a deep voice and strong sound that almost recalls some of the work that Eric Alexander did in later years with Mabern. Titles include "Old Folks", "Lush Life", "Conrad", "My Romance", "You Mean So Much To Me", and "The Sheik Of Araby". CD

Tomorrow may be the question, but the record screams "today!" – and even this many years after its recording, this early set by Ornette Coleman has an energy and presence that cannot be denied! The sound here is kind of a rougher take on the mode that would gel more strongly on Ornette's Atlantic albums – but even so, it's still incredibly fresh, and well worth seeking out – especially as an example of the sharper edges that were bursting forth from the once-cool west coast scene! Coleman's on alto sax and Don Cherry is on trumpet – but they're not joined by their more familiar associates, and are instead working with a more conventional rhythm team that includes either Percy Heath or Red Mitchell on bass, and Shelly Manne on drums – all clearly trying to make a bit of sense of Ornette's approach here, but in a way that also creates a great sense of tension on the record! Tracks are shortish, with great solos by Ornette and Cherry – and titles include "Tomorrow Is The Question", "Endless", "Rejoicing", "Lorraine", "Turnaround", "Tears Inside", and "Giggin". LP, Vinyl record album

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

"I rap with the Passion of Christ, Ni**a, cross me!" BE isn't exactly a back-to-basics LP in the vein of his classic work for Relativity – but it is indeed a return to a focused, genuinely soulful, no BS approach – and it's a very welcome one at that! It seems like Com was a bit affected by some of the criticism folks had for the spacious, astral Electric Circus LP – if you ask us Common had no reason to apologize, but we'd be lyin' if we said we weren't hoping for another batch of tracks that sound like they could have been written on a front porch on the southside of Chicago. This is indeed that record – 12 tracks, few guest appearances, and a warm, consistent sound all the way through. There's a 3 track span on this album, from "Chi-City" through "Real People", that's seriously close to perfection. Welcome home, Common! Ruggedly produced by Kanye West, with a couple of stellar production contributions from Jay Dee! Other tracks include "The Corner" feat Last Poets, "Go!", "Faithful", "Testify", "Love Is. . .", "The Food (live)" (this great track has been circulating for a while since it was performed on Chappelle's Show, and we're thrilled Common and Kanye had the good sense to include it on the album), "They Say" featuring John Legend and "It's Your World (Part 1 &2)". LP, Vinyl record album

BE isn't exactly a back-to-basics LP in the vein of his classic work for Relativity – but it is indeed a return to a focused, genuinely soulful, no BS approach – and it's a very welcome one at that! It seems like Com was a bit affected by some of the criticism folks had for the spacious, astral Electric Circus LP – if you ask us Common had no reason to apologize, but we'd be lyin' if we said we weren't hoping for another batch of tracks that sound like they could have been written on a front porch on the southside of Chicago. This is indeed that record – 12 tracks, few guest appearances, and a warm, consistent sound all the way through. There's a 3 track span on this album, from "Chi-City" through "Real People", that's seriously close to perfection. Welcome home, Common! Ruggedly produced by Kanye West, with a couple of stellar production contributions from Jay Dee! Other tracks include "The Corner" feat Last Poets, "Go!", "Faithful", "Testify", "Love Is. . .", "The Food (live)" (this great track has been circulating for a while since it was performed on Chappelle's Show, and we're thrilled Common and Kanye had the good sense to include it on the album), "They Say" featuring John Legend and "It's Your World (Part 1 &2)". LP, Vinyl record album

A cooking little 10" session from the great west coast tenorist Bob Cooper – a great blend of modern and warmer west coast styles – served up with plenty of great work on tenor! Players here include Bud Shank on reeds, Howard Roberts on guitar, Shelly Manne on drums, and Claude Williamson on piano – working with Bob on 2 different sessions, both of them great. Tracks have that tightly arranged Cooper style, but also break out with some really great solos – especially from Bob and Bud – and titles include "Lisbon Lady", "Solo Plight", "The Way You Look Tonight", "She Didn't Say Yes", and "Excursion". LP, Vinyl record album

A tremendous early album from this west coast tenorist – really breaking out here in a smaller group setting than usual! Coop plays tenor, in a group with Victor Feldman on vibes, Loy Levy on piano, Frank Rosolino on tormbone, and Mel Lewis on drums! LP, Vinyl record album

Maybe the funkiest album ever cut for the legendary Westbound label in Detroit – and that's saying a lot, given that the company was the initial home to Funkadelic! Yet on this stunning full length set, The Counts maybe do that famous group one better – pushing aside their vocals for some incredible instrumental interplay that comes from bumping Hammond lines, wickedly sharp drums, and non-stop riffing guitars – all of which take center stage, while the vocals only seem to be part of the mix to urge the instruments onward! Tracks are long and jamming – ala the early Westbound work from George Clinton – and although The Counts recorded before and after the space of this album, this set is definitely the group's masterpiece. Titles include "What's Up Front That Counts", "Rhythm Changes", "Thinking Single", "Why Not Start All Over Again", "Bills", and "Pack Of Lies" – plus the bonus tracks "Shortsville", "I Know Why" and "Rhythm Changes Reprise". LP, Vinyl record album

Maybe the funkiest album ever cut for the legendary Westbound label in Detroit – and that's saying a lot, given that the company was the initial home to Funkadelic! Yet on this stunning full length set, The Counts maybe do that famous group one better – pushing aside their vocals for some incredible instrumental interplay that comes from bumping Hammond lines, wickedly sharp drums, and non-stop riffing guitars – all of which take center stage, while the vocals only seem to be part of the mix to urge the instruments onward! Tracks are long and jamming – ala the early Westbound work from George Clinton – and although The Counts recorded before and after the space of this album, this set is definitely the group's masterpiece. Titles include "What's Up Front That Counts", "Rhythm Changes", "Thinking Single", "Why Not Start All Over Again", "Bills", and "Pack Of Lies". CD features two bonus tracks – "Motor City" and "What's It All About". CD

One of the only albums ever cut as a leader by soul jazz guitarist Ray Crawford – a contemporary of Grant Green and Wes Montgomery, but a player who's hardly ever gotten his due! This rare date was originally recorded for the short-lived Candid label back in 1961, but was only issued two decades later as part of the Candid revival – a fact that makes the album even more noteworthy! The set's got a really solid groove that reminds us a fair bit of Grant Green's best early 60s work for Blue Note – as Ray's playing in a tight, single-line format on most numbers – working with a very hip group that includes Johnny Coles on trumpet, Cecil Payne on baritone sax, Junior Mance on piano, Ben Tucker on bass, and Frankie Dunlop on drums. Tracks are all nice and long – very open, with plenty of solo space – and are all originals by Crawford as well. Titles include "Smooth Groove", "I Knew Prez", "Impossible", "Miss April", and "The Compendium Suite". Shoulda been a 60s classic – but at least we've finally gotten it released! CD

A wonderfully moody album from Carole Creveling – a lesser-known vocalist from LA, heard here on an obscure west coast session from the 50s! The album's quite a rare one – even more so than sessions from the time on labels like Mode and Jazz West – and it's got a somewhat similar feel to the best work on those labels, in that it presents Carole in a spare, jazzy style that's quite different than the fuller pop of the time! Backing is by the Bill Baker Quartet, which includes some great guitar from the legendary Jimmy Wyble – and Carole herself has a way of singing thinly and sadly on the ballads – a beautifully dark-tinged approach that fits nicely with the sea-swept image on the cover. Titles include "Long Ago", "Star Eyes", "This Heart Of Mine", "One Morning In May", "Now We Know", "Nobody Else But Me", "There's No You", and "Better Luck Next Time". CD also features 2 bonus tracks – "Willow Weep For Me" and "Between The Devil & The Deep Blue Sea". CD

The fantastic first album by one of the most unique funk groups of all time! A key part of the crumbling British colonial network that produced some excellent music in the postwar years, Cymande was comprised mostly of West Indians who'd emigrated to England in the 60s, eventually meeting up under a shared musical vision – a completely new blend of funk, dub, jazz, and soul that was unlike anything else that had been recorded before, save for the work of a few other Brit groups of a similar nature. This first album's one of their greatest – and it's a refreshing batch of tunes that mix together heavy basslines, laidback drumming, and a righteous soul vocal style that's got a bit of a stoner touch. The album includes the group's massive cut "The Message", a bit of a minor hit when it was released (and later sampled quite famously) – plus the funky classics "Dove", "Zion I", "Listen", "Bra", and "Rickshaw". Pick this up, and sample one of the 70's most unique funk groups! LP, Vinyl record album

The fantastic first album by one of the most unique funk groups of all time! A key part of the crumbling British colonial network that produced some excellent music in the postwar years, Cymande was comprised mostly of West Indians who'd emigrated to England in the 60s, eventually meeting up under a shared musical vision – a completely new blend of funk, dub, jazz, and soul that was unlike anything else that had been recorded before, save for the work of a few other Brit groups of a similar nature. This first album's one of their greatest – and it's a refreshing batch of tunes that mix together heavy basslines, laidback drumming, and a righteous soul vocal style that's got a bit of a stoner touch. The album includes the group's massive cut "The Message", a bit of a minor hit when it was released (and later sampled quite famously) – plus the funky classics "Dove", "Zion I", "Listen", "Bra", and "Rickshaw". Pick this up, and sample one of the 70's most unique funk groups! LP, Vinyl record album

Raw funky blues from the Cleveland scene – unreleased recordings from the obscure singer Fred Davis, who hardly ever set his music to wax back in the day! The album's got a gritty blend of blues inflections and soulful expressions – similar to some of the hippest west side work from Chicago around the same time, but maybe even grittier and more stripped down – as the whole thing wasn't done by a bigger, professional label! Titles include "Express Train", "Midnight Is Falling", "Euclid Avenue", "Five Long Years", "Piano Boogie", "Time When You Say You Love Me", "Express Train", and "Wine Hop". CD

Raw funky blues from the Cleveland scene – unreleased recordings from the obscure singer Fred Davis, who hardly ever set his music to wax back in the day! The album's got a gritty blend of blues inflections and soulful expressions – similar to some of the hippest west side work from Chicago around the same time, but maybe even grittier and more stripped down – as the whole thing wasn't done by a bigger, professional label! Titles include "Express Train", "Midnight Is Falling", "Euclid Avenue", "Five Long Years", "Piano Boogie", "Time When You Say You Love Me", "Express Train", and "Wine Hop". LP, Vinyl record album

A massive moment for Miles Davis – legendary live performances at both the Fillmore East and Fillmore West from 1970 – presented here in their entirety for the first time ever! Part of the record features Miles' work that appeared in edited form on the Miles Davis At Fillmore record – but issued here without the edits, so that you can really hear the group take off in unbridled, Bitches Brew-like energy – served up by a lineup that includes Steve Grossman on tenor and soprano sax, Chick Corea on Fender Rhodes, Keith Jarrett on organ, Dave Holland on bass, Jack DeJohnette on drums, and Airto on percussion and flute. The set then also includes material recorded in April at the Fillmore West – but all unissued tracks, and not the material that was on the Black Beauty album at all. These tracks feature a similar lineup, but without Keith Jarrett – on a few long tracks. The set separates out all the tunes with great clarity and better mastering than before – and adds 100 minutes to the Fillmore East set. Titles include "Directions", "The Mask", "It's About That Time", "Bitches Brew", "Spanish Key", "Sanctuary", "I Fall In Love Too Easily", "Footprints", "Paraphernalia", "Miles Runs The Voodoo Down", "Willie Nelson", and "The Theme". CD

The title's a great one – as Tyrone Davis has always had it, and has never lost it – but he sounds especially wonderful here during his legendary run for the Dakar/Brunswick label, where he was really able to forge a unique groove! Davis' vocals are wonderful – proud and powerful, but with this little rasp that brings in a great sense of humanity – and the backings are soaring in a Chicago soul style, but have a few bluesy undercurrents that really show off the west side roots of Davis. Arrangements are by Gene Barge, Tom Tom Washington, and Jerry Long – and titles include "I Had It All The Time", "Your Love Keeps Haunting Me", "After All This Time", and "Was I Just a Fool" – all great songs about love lost and love's worries! CD

The first album by this excellent 80s groove ensemble – and a key part of the Ohio funk scene of the end of the 70ss! Forget the more famous funk acts you may know from Ohio, because Dayton's Dayton (can we say that?) were one of the sweetest, smoothest, tightest funk acts to come out of the entire midwest at the time – and the group had a hard-riffing, catchy-hooking sound that should have made them legends instantly . This album's got a great sound that mixes harmony vocals with modern soul use of bass and keyboards – blending the two aspects perfectly, without any of the painfully overwrought vamping and popping that could ruin other funk bands at the time – and from the very first note of the set, you can tell that Dayton's a class act, ready to go all the way! Titles include "Living For Today", "Dank", "Eyes On You", "Let Go", "So Glad", and "Tonight". CD

The mindblowing debut of De La Soul – a set that's inarguably one of the most important records in hip hop history – overflowing with playful, endearingly oddball trio rhymes and Prince Paul production at it's most sprawlingly sampled and creative! The set has classic songs that stand out well enough on their own – but they're all also wonderfully linked together as a whole, making the album one of the first really well-thought out full length albums in hip hop – filled with loosely connective skits with recurring characters that are vital to the experience of listening to the record as a whole! Additionally, the set is especially fascinating given its 1989 release year – a time when so many of the contemporaneous crews and solo MCs on both the east coast and west coast were going grittier, darker and more profane – but it doesn't feel like a conscious reaction to that, as much it feels like sharp trio and a brilliant producer carving out their own damn creative niche. Includes "Me Myself & I", "The Magic Number", "Plug Tunin", "Say No Go", "Tread Water", "Eye Know", "Buddy" and much more! CD

The mindblowing debut of De La Soul – a set that's inarguably one of the most important records in hip hop history – overflowing with playful, endearingly oddball trio rhymes and Prince Paul production at it's most sprawlingly sampled and creative! The set has classic songs that stand out well enough on their own – but they're all also wonderfully linked together as a whole, making the album one of the first really well-thought out full length albums in hip hop – filled with loosely connective skits with recurring characters that are vital to the experience of listening to the record as a whole! Additionally, the set is especially fascinating given its 1989 release year – a time when so many of the contemporaneous crews and solo MCs on both the east coast and west coast were going grittier, darker and more profane – but it doesn't feel like a conscious reaction to that, as much it feels like sharp trio and a brilliant producer carving out their own damn creative niche. Includes "Me Myself & I", "The Magic Number", "Plug Tunin", "Say No Go", "Tread Water", "Eye Know", "Buddy" and much more! CD

The mindblowing debut of De La Soul – a set that's inarguably one of the most important records in hip hop history – overflowing with playful, endearingly oddball trio rhymes and Prince Paul production at it's most sprawlingly sampled and creative! The set has classic songs that stand out well enough on their own – but they're all also wonderfully linked together as a whole, making the album one of the first really well-thought out full length albums in hip hop – filled with loosely connective skits with recurring characters that are vital to the experience of listening to the record as a whole! Additionally, the set is especially fascinating given its 1989 release year – a time when so many of the contemporaneous crews and solo MCs on both the east coast and west coast were going grittier, darker and more profane – but it doesn't feel like a conscious reaction to that, as much it feels like sharp trio and a brilliant producer carving out their own damn creative niche. Includes "Me Myself & I", "The Magic Number", "Plug Tunin", "Say No Go", "Tread Water", "Eye Know", "Buddy" and much more! CD

The mindblowing debut of De La Soul – a set that's inarguably one of the most important records in hip hop history – overflowing with playful, endearingly oddball trio rhymes and Prince Paul production at it's most sprawlingly sampled and creative! The set has classic songs that stand out well enough on their own – but they're all also wonderfully linked together as a whole, making the album one of the first really well-thought out full length albums in hip hop – filled with loosely connective skits with recurring characters that are vital to the experience of listening to the record as a whole! Additionally, the set is especially fascinating given its 1989 release year – a time when so many of the contemporaneous crews and solo MCs on both the east coast and west coast were going grittier, darker and more profane – but it doesn't feel like a conscious reaction to that, as much it feels like sharp trio and a brilliant producer carving out their own damn creative niche. Includes "Me Myself & I", "The Magic Number", "Plug Tunin", "Say No Go", "Tread Water", "Eye Know", "Buddy" and much more! LP, Vinyl record album

The mindblowing debut of De La Soul – a set that's inarguably one of the most important records in hip hop history – overflowing with playful, endearingly oddball trio rhymes and Prince Paul production at it's most sprawlingly sampled and creative! The set has classic songs that stand out well enough on their own – but they're all also wonderfully linked together as a whole, making the album one of the first really well-thought out full length albums in hip hop – filled with loosely connective skits with recurring characters that are vital to the experience of listening to the record as a whole! Additionally, the set is especially fascinating given its 1989 release year – a time when so many of the contemporaneous crews and solo MCs on both the east coast and west coast were going grittier, darker and more profane – but it doesn't feel like a conscious reaction to that, as much it feels like sharp trio and a brilliant producer carving out their own damn creative niche. Includes "Me Myself & I", "The Magic Number", "Plug Tunin", "Say No Go", "Tread Water", "Eye Know", "Buddy" and much more! LP, Vinyl record album