A rare TK Records effort from James Brown – very much in the best uptempo funk mode of the later Polydor years! The groove here is quite similar to those better-known efforts – grooves that are a bit quicker than a few years before, but still played in a core JB funky style – live and lively, with plenty of emphasis on the rhythms! Brown often referred to his style here as disco, but it's a lot more like some of the P-Funk progressions of the period – a mode that's more polished than a grittier funky generation, yet far from smooth club or disco overall. There's plenty of choppy little groovers that make the record great – and titles include the long cut "Rapp Payback", plus "Funky Men", "Smokin & Drinkin", "Stay With Me", and "Mashed Potatoes". CD

Alto saxophonist Rob Brown really shines in a setting like this – a record with a very open-ended vibe, as Brown improvises freely in tandem with Juan Pablo Carletti on the drums – spinning things out over two very long tracks that are full of delightful surprises at every twist and turn! Brown has a really great way of handling his horn – blowing freely, but almost with an inherent sense of structure – not playing changes, or hitting a rhythm, but creating these patterns that really hold the whole thing together – still the farther side of tuneful, but almost there at times. Titles include "6BC" and "Children's Magical Garden" – both nice and long! CD

A really early nugget from the Detroit jazz scene of the 50s – and a record that marks a key moment for players who would soon become huge on a variety of different labels! The group here features a very young Donald Byrd on trumpet, with Yusef Lateef on tenor, Barry Harris on piano, Alvin Jackson on bass, and Frank Gant on drums – plus Bernard McKinney blowing euphonium – an instrument he would use on a number of other important recordings over the years to really deepen their sound. The date was originally issued by the Transition label, and very quickly disappeared when they quickly closed up show – brought back over the years in a few variations by Delmark, to keep the memory of this moment alive. Tracks include "Yusef", "Parisian Thoroughfare", "Blues", "Dancing In The Dark", and "Tortion Level". CD

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

A pair of great albums back to back – both rare albums from a percussionist who worked with Sun Ra! First up is Mora volume 1 – a legendary early set from percussionist Francisco Mora Catlett – and a really sublime blend of spiritual jazz and Latin rhythms! Mora's percussion is definitely at the core – but the set also features wonderful contributions from Vincent Bowens on tenor and soprano sax, Jerome LeDuff on berimbau, Alberto Nacif on quinto, and Detroit jazz legend Kenny Cox on piano! There's a balance here that really matches the best Strata East energy of the 70s – an open, flowing approach that's completely sublime, and very righteous too – even more so than anything Mora's done since the 70s – making this record one of his greatest achievements ever. Tersa Mora sings a bit of vocals at times – and titles include "Afra Jum", "Five AM", "Rumba Morena", "Samba De Amor", and "Cultural Warrior". Mora 2 is a set recorded in Detroit, but one that's got a globe's worth of elements in the mix – originally recorded in the mid 80s, but not released until a brief CD issue in the early part of the 21st Century! Despite that history, the album's a really timeless record that encompasses a world's worth of elements in jazz! Francisco Mora Catlett's at the height of his powers here – leading the group with a sense of righteous majesty that takes us back to some of the most ambitious heirs of the post-Coltrane generation, but with perhaps an oddly rhythmic twist as well – such as you might find in some of the 70s classics of Bobby Vince Paunetto. Echoes of Latin, Afro, and spiritual jazz come together as one – soaring to the skies on soulful waves of sound – brought together with a sense of focus and spirit that really moves us a lot. Players include Marcus Belgrave and John Douglass on trumpets, Sherman Mitchell on trombone, Vincent Bowens on tenor and flute, Alex Harding on baritone and bass clarinet, Kenny Cox on piano, and Rodney Whitaker on bass – and titles include "Samba/Conga De Amor", "Amazona Prelude/Dawn", "Old Man Joe", "Por Que Paro", and "Afra-Jum (parts 2 & 3)". CD

Two rare instrumental albums from Lloyd Charmers – both from that early moment when he was moving from work as a singer, to a strong role as a producer and keyboardist! Reggae Is Tight is a set that seems to answer both the Tennessee instrumental sounds of Booker T & The MGs in Memphis, and Floyd Cramer in Nashville – as the rhythms have all the soulful romp that might be inspired by late 60s soul, while Lloyd plays both organ and piano, the latter often in a way that has all this cool echo! Titles include "5 to 5", "Summer Face", "Crimson & Clover", "Rat Trap", "Safari", "Reggae Is Tight", "Psychedelic Reggae", and "Golden Moon". Reggae Charm is a really great record from Lloyd Charmers – one of his instrumental sets, and an album that has Byron Lee & The Dragonaires providing some mighty nice rhythms behind his keyboards! The vibe is plenty soulful – almost a Kingston take on Stax Records instrumental modes – with organ vamping alongside piano, in a great mix of cuts that includes "Dr No Go", "Tribute To The Dragon", "Mama Look", "If I Only Had Time"- "Honey", "Last Date", and "Israelite". 2CD set features 31 more bonus tracks – for a total of 55 titles in all, including 23 that appear here on CD for the first time ever! CD

One of the more new wave-oriented moments from Ava Cherry – a singer we know best from her solo work in soul, but who also has a pretty strong pedigree on the rock side of the spectrum as well! The instrumentation is heavy on keyboards – played by Mark Isham, in a way that sometimes echoes his best soundtrack work of the decade, but more focused too – at a level that brings a deeper sound to the music than you might expect! Tunes are upbeat and catchy, yet trying for a bit of an edge at times – and Ava serves up the lyrics with a subtle sense of drama in her voice. Titles include "Fast Lover", "Love To Be Touched", "Techno Love", "Having Been Far", "I Guess It's Love", "Awkward Situation", and "Streetcar Named Desire". CD features two bonus tracks – 12" remixes of "Awkward Situation" and "Streetcar Named Desire". CD

The complete work of pianist Sonny Clark as a leader for the Blue Note label – masterful material that really helped define the sound of the hardbop generation, and records that are still classics and still filled with fantastic energy after all these many years! In some way, Sonny Clark was the perfect figure to help Blue Note step into this generation – both a modernist and a soulful player, a strong group leader and an intimate soloist in a trio setting – clearly the lynchpin of the new energy during Blue Note's explosion in the LP generation – as you'll hear on classic albums that include Dial S For Sonny, Sonny's Crib, Sonny Clark Trio, Cool Struttin, Leapin & Lopin, Sonny Clark Quintets, Blues In The Night, My Conception, and the Art Of The Trio! Some of these albums were recorded in the late 50s, but only issued years later – and the package also includes all the bonus material that was added to later CD versions as well. Players include John Coltrane, Clifford Jordan, Charlie Rouse, and Hank Mobley on tenors – plus Art Farmer and Donald Byrd on trumpets, Curtis Fuller on trombone, Jackie McLean on alto, and Kenny Burrell on guitar – top-shelf Blue Note Groups on every record – and the set features 61 tracks in all, and the usual Mosaic booklet of notes! CD

One of the most legendary albums on Blue Note – or maybe THE most legendary albums on Blue Note – a stunning session that shows what the label was capable of when it was really hitting on all burners – from the lineup to the music to the production – and even the classic cover art on the front! The album's a crowning achievement for pianist Sonny Clark – a player who'd already brought greatness to the world before the record, but really knocks it out of the park during the session – leading a razor sharp lineup that includes Art Farmer on trumpet, Jackie McLean on alto, Paul Chambers on bass, and Philly Joe Jones on drums – all coming together with some magic in the studio, crafting a sound that forever put Blue Note on the map! Tracks are long, open-ended, and almost effortlessly soulful – and titles include Clark's classics "Cool Struttin" and "Blue Minor", plus versions of "Sippin At Bells" and "Deep Night". LP, Vinyl record album

The first rumblings of genius from German electronic giants Cluster – but oddly, a record recorded without any synthesizers at all! The team of Dieter Moebius and Hans-Joachim Rodelius are both playing organ here – as well as cello and Hawaiian guitar, and some "audio-generator" and amplifier effects – and they're recording with some excellent production help from the legendary Conny Plank, who uses all sorts of weird techniques to mess up the sound in really great ways. Ordinary notes are completely abstracted here – given cosmic tones and echoey rumblings that are far more challenging than most of the later work by Cluster, especially the pair's more ambient late 70s recordings. The 3 long songs are identified only by their timings – "15:33", "7:38", and "21:17". LP, Vinyl record album

One of the most compelling albums we've ever heard from Ornette Coleman – and a set that's very different than some of his other work for different labels – particularly his better-known material for Blue Note and Atlantic! The album's got a righteous feel that's right up there in the best spirit of the Flying Dutchman label of the early 70s – a mode that's still on the far reaches of avant jazz that Ornette explored on earlier sessions – but which also has a warmer, almost more spiritual quality at times too. The core group features legendary partners Charlie Haden on bass, Dewey Redman on tenor, and Ed Blackwell on drums – but part of the record features an unnamed group of "Friends & Neighbors", who join in on the title cut with this collaborative spirit that really sets the tone for the whole record. Coleman plays trumpet and violin in addition to his usual alto sax – and titles include the mindblowing two part "Friends & Neighbors", plus "Let's Play", "Long Time No See", "Forgotten Songs", and "Tomorrow". LP, Vinyl record album

A rare session as a leader from trumpeter Johnny Coles – a player who cut some great work in the groups of James Moody and Gil Evans, but who shines even more brightly on this classic Blue Note album! Coles really has an ear for finding the hippest side of his instrument – and he blows with a style that's unlike anyone else we can think of – and certainly far from the mellower tones of his previous leader set for Columbia. This album's got a great mix of hardbop and modern ideas – right up there with the best Blue Note had to offer at the time – and the group's filled with equally hip players who include Joe Henderson on tenor, Leo Wright on alto and flute, Duke Pearson on piano, Bob Cranshaw on bass, and either Pete LaRoca or Walter Perkins on drums. Titles include "Heavy Legs", "Hobo Joe", "Jano", and "Little Johnny C". Very hip, very hard, and very swingin! CD

A landmark batch of work from the British jazz scene – the complete early run of recordings from Colosseum, maybe the greatest jazz-rock group of their time! The combo grew out of earlier work in the beat group generation – informed strongly by American jazz and R&B, but already on the forefront of the new prog generation – driven by the mighty drums of Jon Hiseman and topped with the sax and reed work of Dick Heckstall-Smith – both fantastic players who really gave the group their grounding! The lineup shifts a bit throughout this set, and maybe gets even better as the records go on – with later work from Chris Farlowe on vocals, whose soulful style is a perfect match to the groove-heavy sound of the group. Back in the days when we didn't like prog at all, and were more focused on jazz and funk, we still had a very soft spot for Colosseum – and it's no surprise that some of these records are always found in the collections of funk fanatics around the world. The 6CD set features the full albums Those About To Die Salute You, Valentyne Suite, Grass Is Greener, Daughter Of Time, and Colosseum Live – almost all of which are presented here with bonus tracks – alongside a full bonus CD of rare studio and live recordings too! There's also a huge booklet of notes – and this package is the comprehensive take on this legendary group. CD

Early work by Alice Coltrane – somewhat under the shadow of her late husband, as you'd guess from the use of his name on the front cover – but really stepping out here with a voice of her own! The Monastic Trio of the set features Alice on harp and piano – alongside bass from Jimmy Garrison and drums by either Ben Riley or Rashied Ali – both really fluid players who open up nicely in this way that's never to far out, at least in the way that John Coltrane was using rhythms at the time – but which allow Alice to really take the lead as a bold musical visionary of her own! Perhaps most exciting, Pharoah Sanders sits in on one of the album's longest tracks – blowing tenor with a force that's enough to bring back The Great One – but the real charm of the set is Alice's piano work, bubbling out here with a sensitivity that we never would have expected from the harder-edge sessions cut with Coltrane – that new level of spirituality she instantly brought to her own solo sessions. Titles include "Ohnedaruth", "Lovely Sky Boat", and "Atomic Peace". LP, Vinyl record album

Rare material from John Coltrane – tracks that were done for Bethlehem Records at a time when he was just rising up as a leader, and still contributed work as a sideman! The album features Trane playing tenor on only four of the album's eight tracks – making it kind of surprising that they used his name in the title – but the album is a lesser-known batch of large group recordings that offer an interesting early chapter in his career! The main force behind the album is arranger Harry Tubbs – possibly not a name that's as sexy as John Coltrane, hence the billing – but a worthy leader for the date, given the quality of the music. Many of the other players here are small combo heroes who can also shine brightly in bigger groups – such as Donald Byrd and Art Farmer on trumpets, Kenny Burrell on guitar, Al Cohn on baritone sax, Eddie Costa on piano and vibes, and Oscar Pettiford on bass – plus Rolf Kuhn, making an early American appearance on clarinet. Coltrane gets in some nice, but short moments on the date – but the bigger charm is the full ensemble work – on titles that include "She Didn't Say Yes", "Turtle Walk", "At Home With The Blues", "Seabreeze", and "Love & The Weather". CD

Richly soulful sounds from Nicola Conte – his first album for Far Out Records, but a set that shows the spiritual journey he's been on for the past decade or so on a variety of other labels! Conte has really matured into a jazz visionary – using the same energy here with live musicians that he used to bring to studio projects – in a warm blend of classic soulful styles, with work from an excellent lineup that includes Zara McFarlane and Myles Sanko on vocals, Alberto Parmegiani on guitar, Timo Lassy on tenor, Simon Mullier on vibes, Milena Jancuric on flute, and Ameen Saleem on bass. All players are wonderful – pushing past anything we might have expected – and McFarlane is especially great on the record, almost hitting heights that feel like Dee Dee Bridgewater back in the day! Titles include "Arise", "Dance Of Love & Peace", "Flying Circles", "Freedom & Progress", "Soul Of The People", "Into The Light Of Love", "Umoja Unity", and "Heritage". LP, Vinyl record album

Really mindblowing work from legendary drummer Ivan "Mamao" Conti – a key part of Azymuth through that group's many years – and still going strong here as a solo artist on his own! The album's almost a 21st Century realization of the sound that Azymuth was going for back in the day – cascading percussion with plenty of influences from Brazilian music and jazz, often given some electric elements along the way – but always in a style that's warmly organic, and right on the groove! Conti gets help from younger Azymuth and Incognito generations – as Alex Malherios plays bass on the record and Daniel Maunick handles keyboards, more percussion, and production – all at a level that never stomps on Ivan's vision at all – and which instead makes the whole thing as rewarding as any Azymuth session we've heard over the past few decades. Most tracks are instrumental, save for some airy wordless vocals – but Thiago Martins sings lead on "Que Legal", and other titles include "Aroeira", "Bacurau", "Poison Fruit", "Jemburi", "Ecos Da Mata", "Encontro", and "Tempestades". CD features bonus mixes – "Ilha Da Luz (Tenderlonius rmx)", "Encontro (Glenn Astro rmx)", "Que Legal (Reginald Omas Mamode IV rmx)", "Encontro (Max Graef rmx)", and "Poison Fruit (Dokta Venom's digital dub rmx)". CD

All the great early albums from Creation Rebel – plus their excellent comeback too! The set begins with Dub From Creation – not just the debut album from Creation Rebel, but also a set that marks the first studio work from the young Adrian Sherwood – part of the long On-U Sound legacy to come, and a wealth of other wonderful music! There's a spareness here that's great – maybe a bit less dark than later Sherwood projects, but no less stark – with melodica and keyboards weaving nicely amidst the dubby rhythms! Titles include "Basic Principals", "Dub Fusion", "Liberation", "Rising Star", "Vision Of Creation", and "Creation In A Iration". Next is Close Encounters Of The Third World – an early part of the On-U Sound legacy, even if the set wasn't issued on the label – a key effort by Creation Rebel that features recording work done both in London and Kingston, layered together in a beautifully dubby way! The sound here is definitely underground – full of message-oriented lyrics from Crucial Tony, who sings in a style that definitely earns him his name – with great melodica and organ flowing through the mix next to Lizard's bass – topped with added horn work from The Arabs in all the right spots! The production is superb – flat on the drums, wide on the sides, which makes for a really wonderful groove – on titles that include "Know Yourself", "Conspiring", "Creation Fever", "Natty Conscience Free", and "Joyful Noise". Rebel Vibrations features early production genius from Adrian Sherwood – and a record that sets the tone for all the On-U Sound genius to come! The set's a huge step forward from even the previous excellent Creation Rebel album – as the way the sounds are layered together is incredible – almost modes learned from post-punk production, but used to deliver a pure, righteous dub album – one that drops out all the vocals, and allows you to concentrate even more on the totally wicked instrumentation! The set features stunning drums from Style Scott, heady bass from Lizard, and all sorts of very cool keyboard work from Clifton Morrison – used in these ways that float about like a swarm of sounds, especially when mixed with the melodica of Doctor Pablo. The whole thing's amazing – and titles include "Diverse Doctor", "Hunger & Strife", "Jungle Affair", "Rebel Vibration", "Black Lion Dub", and "Mountain Melody". Starship Africa is a brilliant Creation Rebel effort for On-U Sound from the dawn of the 80s – landing in the futuristic dub spacecraft that is their Starship Africa – percussion heavy and spaced out ingenuity from Adrian Sherwood & co! Tripped, echoey atmospherics that's cast as a soundtrack to movie that doesn't exist, the music is forward thinking, boundary busting dubby grooves exists out of time and sounds great to this day. Includes "Starship Africa" (Sections 1-5) and "Space Movement" (Sections 1-4). On Psychotic Jonkanoo, Crucial Tony is back in the mix for this righteous early 80s album from Creation Rebel – a set that has Adrian Sherwood only furthering his production genius as he layers together stunning instrumental work from the group! The presence of the vocals has the instrumentation slightly back in the mix – but there's still a great run of rhythms throughout, all driven by the mighty heady basslines of Lizard Logan! There's less keyboards than before, but still some nice electronic bits all over the place – and titles include "The Dope", "African Space", "Threat To Creation", "Highest Degree", "Mother Don't Cry", and "Drum Talk". From 2023, Hostile Environment is the first album in many years from this legendary studio project from On-U Sound and Adrian Sherwood – and one that makes us feel as if the passage of decades hasn't happened at all! Sherwood's production is still wonderful – and, if anything, maybe less showy, or more soulful, or less moody – just something that seems to let the work of the group come through with energy that's wonderfully warm and organic, while still resonating with plenty of touches that will make longtime label fans proud! Vocals are shared between Charlie Eskimo Fox and Mr Magoo, and the set also features guest appearances from Prince Far I and Daddy Freddy – on titles that include "That's More Like It" "Jubilee Clock", "Swiftly", "Stonebridge Warrior", "Crown Hill Road", "The People's Sound", and "Whatever It Takes". CD

A fantastically beautiful album that strongly proves the old jazz adage "It's not the song, but the singer"! The "singer" in this case is alto player Sonny Criss – and the songs are a middle of the road batch of compositions, like "Sunny", "Willow Weep For Me", "Up Up & Away", and "Scrapple From the Apple". Forget the songs, in this case, because it's the "singer" who adds all the genius, as Criss' solos are fantastically warm, lyrical, and imaginative – far more so than you could imagine by just reading the titles on the album. We love all of the late 60s albums by Criss on Prestige, but this one's one of our favorites, and is a beautiful example of the late altoists sheer creative power in action. Other players include Cedar Walton, Tal Farlow, and Bob Cranshaw. CD

A previously unissued album from Indian guitarist Amancio D'Silva – recorded during his legendary run of work at Lansdowne Studios, but making its first-ever appearance here! The work on the set is every bit as far-reaching and progressive as some of D'Silva's official releases – and like those sides, this one does a tremendous job of blending complicated guitar lines, unusual rhythms, and some super-hip instrumentation! Amancio has a way of playing guitar that's a bit like Gabor Szabo – airy and exotic at times, with a free-flowing quality that's really explored nicely here on the longish tunes on the set. Players include Don Rendell on saxophone, Stan Tracey on piano, and Alan Branscombe on flute, vibes, and electric piano – but best of all is the use of sitar and tabla on the record – often employed sparingly, but in a way that adds some great echoes of Indian music. Titles include "A Street In Bombay", "What Maria Sees", "A Song For Francesca", and "Konkan Dance". LP, Vinyl record album

Ted Daniel may be one of the most compelling sound-shapers we've ever heard on the trumpet – a very under-acknowledged musician whose playing of the 70s and 80s continues to really grab us over the years! This unissued live set is from 1981, and it features Ted on a variety of horns – blowing in a special way that both links to more conventional trumpet modes, yet also shows a knowledge of the more open phrasing that some of his generation were using – like Lester Bowie or Leo Smith. Yet unlike some of those artists, Ted's performance, although free, is never that far from the more familiar roots of trumpet expression – a fantastic balance that really comes through beautifully in the music. There's a few unusual approaches here – one track features a trumpet played into a grand piano, another a flugelhorn through a phase shifter – but even these never go too far out. Titles include "Sunny Side Up", "Closer & Closer", "Vicissitudes Of A Lover", "Al Fine", "Ciao Bene", and "Deac's Ceremonial Testimonial". CD

Have guitar, will travel – and back in the day, Bo Diddley was going pretty darn far with great material like this! The album's a real standout, even in the classic Chess catalog of the early years –no filler, no covers, just all original material by Bo Diddley – done in that unique Diddley blend of fast riffing guitar, playful vocals, and odd rhythms that often chug along at a really frenetic pace, especially in these pre-funk years! A key influence on funky music for many years to come, and a record that explodes from the very first note – on a set of original tracks that include "Run Diddley Diddley", "Mumblin Guitar", "Say Man, Back Again", "Come On Baby", "Dancing Girl", "She's Alright", and "Cops & Robbers". LP, Vinyl record album

A set that's almost a back to basics effort for DJ Shadow, yet one that's also a strong step forward too – basic in that it's a record that's almost all instrumental, with no guests at all – but forward because it's got a leaner groove, and a style that shows just how far Shadow has moved past the more hip hop/turntablist style of his roots! There's almost a cinematic vibe to the music at times – a mode that fits the action adventure of the title, with plenty of cuts that would be right at home on classic soundtracks, especially of the 80s crime/cop/action style – served up with just the right sorts of beats, basslines, and keyboards to echo that era! Titles include "A Narrow Escape", "You Played Me", "Time & Space", "Forever Changed", "She's Evolving", "Reflecting Pool", "Free For All", "Ozone Scraper", and "Witches Vs Warlocks". CD

A seminal set from Eric Dolphy – one of his most perfectly realized moments at the head of a larger ensemble – and a record that definitely set the tone for countless spiritual jazz sessions of the 70s! Dolphy recorded this session for Alan Douglas in 1962, and it features a larger array of players than you'll find on most of his records for other labels – the cream of the "new thing" players that were around New York at the time, including Bobby Hutcherson on vibes, Woody Shaw on trumpet, Prince Lasha on flute, Sonny Simmons on alto, and even Clifford Jordan on soprano sax – making a rare appearance on record on that instrument! Together, the players create a set of soundscapes that lies somewhere between Dolphy's Out To Lunch album, and some of the more modernist work by Mingus – a stunning batch of tracks that go out, but never too far. Titles include "Ode to CP", "Burning Spear", "Iron Man", and "Mandrake". LP, Vinyl record album

A classic set to feature the Bill Evans Trio with the great Scott Lafaro on bass and Paul Motian on drums! Listening to the set we're reminded of what always brings us back to Evans' playing – a quality that's often described as moody, but which is really is quite spry and lively throughout this set, without ever giving up its lyrical approach. Titles are mostly standards – but really transformed by the touch of the trio – and tunes include "Come Rain Or Come Shine", "Autumn Leaves", "Witchcraft", "When I Fall In Love", "Peri's Scope", "What Is This Thing Called Love", "Spring Is Here", "Some Day My Prince Will Come", and "Blue In Green". LP, Vinyl record album

Two slices of never-issued work from pianist Bill Evans – material recorded on two different dates in Denmark in 1964, both featuring work from his fantastic trio that featured Chuck Israels on bass and Larry Bunker on drums! Both players were key to helping Evans develop the sound that he would carry forth strongly into the 70s – Bunker with a very subtle, open touch on the drums – and Israels with a modern conception of basswork that followed strongly from some of the experiments that Scott LaFaro had begun with Evans a few years before. The set features one batch of tracks recorded for Danish Radio, another for TV in Copenhagen – and titles include "Give", "I Didn't Know What Time It Was", "Waltz For Debby", "Sweet & Lovely", "My Foolish Heart", and "How My Heart Sings". CD also features a bonus track – a 1969 Denmark recording of "Round Midnight", with Eddie Gomez on bass and Marty Morell on drums. CD

Fantastic Verve Records material from Bill Evans – a set that follows the no-nonsense trio style of his Riverside material, but which definitely shows the evolving Evans style of the 60s! The group here is a nicely mellow one – bassist Chuck Israels, whose sound is tremendous – and drummer Larry Bunker – a player you might know from percussion work on other albums, which seems to give him a very sensitive touch on the drum kit here! Both players have a dancing quality that goes far beyond strict rhythmic timekeeping – and this approach opens up Evans' solos in to a freer mode than on some of his early 60s sets. The result is a wonderful album that really transforms the tunes – as you'll hear on the set of tracks that include "Round Midnight", "Israel", "Elsa", and "How My Heart Sings". LP, Vinyl record album

An incredible album from Bill Evans – and maybe THE record you need in your collection if you're trying to understand his contribution to jazz! The album's one of Evan's first sides from the Village Vanguard – and features the legendary trio that included Scott LaFaro on bass and Paul Motian on drums – both players who could shake free from conventional rhythmic roles in a piano trio, yet who also support Evans' lyrically modal playing here beautifully! The tracks are a bit longer than Bill's studio sides from the time, allowing for even more magical interplay on the keys – and titles include "My Foolish Heart", "Waltz For Debby", "Detour Ahead", "My Romance", "Some Other Time", and "Milestones". LP, Vinyl record album

One of Art Farmer's pivotal mid 50s sides – recorded in the company of altoist Gigi Gryce, a great player and a budding young arranger who helped Farmer really formulate the best side of his sound! The tracks are lyrically modern – but still have a nice dose of soul in them – a wonderful blend that really sets the stage for the move that Art was making away from earlier trumpeters in jazz – into that hip territory that was neither too cool, nor too overblown – and which would almost be known as "Farmer-like" in years to come! The album features Gryce and Farmer in 2 different groups – one with Horace Silver on piano, Percy Heath on bass, and Kenny Clarke on drums – the other with Freddie Redd on piano, Addison Farmer on bass, and Art Taylor on drums. Titles include "Social Call", "Capri", "Deltitnu", "Stupendous Lee", and "Blue Concept". CD

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

A trio of funky classics from Faze-O – collected here with bonus tracks too! First up is their debut, Riding High – a spacey soul classic – with a sound that never gets old! Faze-O will be forever remembered for their massive cut "Riding High", the leadoff on this album – a stretched out slow funk jam that has amazing keyboards, floating guitars, and a super-dope groove that's stayed fresh from the moment it was first set to wax back in 1977! This album's the group's first, and best – and it's a really wonderful record that blends together funky fusion and heavy soul – filled with killer cuts arranged by the Ohio Players, and with lots of great keyboards by the group! Includes, of course, the massive cut "Riding High" – plus "Toe Jam" and "Funky Reputation"! The second album is a definite Good Thang from Faze-O – easily the masters of snakey funk at the end of the 70s! The set's got loads of great elements that echo the group's Riding High debut – a groove that never goes too far over the top, and which kicks back at a pace that so many others would copy a few years later – a vibe that's a bit Ohio, a bit Cali, yet crafted here with a vision that's totally unique to the band! Horns are a bit heavier than before, but there's still plenty of great keyboards too – and the vocals definitely recognize that they're the second star of the record, and usually defer to the rhythms on most numbers. Tracks include "Good Thang", "Party Time", "Space People", "Who Loves You", and "Funky Lady". Breakin The Funk is wicked funk from Faze-O – a group who seem even tighter than before on this smoking album – yet still hold onto all the laidback modes that made them so great in the first place! There's a lean quality here that really prefaces the direction so many funk acts would take a few years later – a way of compressing everything down on the rhythm, to get past some of the excesses of too-large funk groups, or some of the overblown qualities of the disco generation! Faze-O were definitely out front with this approach, and continue to craft it strongly here – and the album's got a few great mellow tracks too – a great illustration of the claim made in the liner notes – that "Faze-O music is carefully built in panels of melodic phases, to sensuously put you in a funky but heavenly mood of time and rhythm." Titles include "See You Through The Night", "I'm Thankful", "I Still Love You", "Let's Rock", and "Ya Ba Da Ba Duzie". Features bonus tracks – 7" single mixes of "Riding High", "Breakin The Funk", "Good Thang", and "Who Loves You". CD

The coolest record so far from this totally great combo – a live recording done on the home turf of the Greg Foat Group – the Playboy Club in London! The retro venue really fits the slinky, sexy vibe of the group's music – and although we already loved these guys before, this album has a really special sort of feel – with loads of wonderful keyboard lines from Greg on Hohner Electra piano, Elka Rhapsody, Hammond L 100, and Mutron Phaser – almost always distorted with a nice degree of fuzz, but still a straight ahead approach, and some great undercurrents of fuzz too! The group also features tenor and trumpet – which sometimes sound distorted, ala Varitone modes – and the overall sound feels like some lost jazzy club combo from the late 60s, really tripping out in a very comfortable space. We'd easily stack this one next to our favorite funky Fender Rhodes records from back in the day – and titles include "By The Grace Of God I Am", "Ingen Reklam", "Funky Fanfare", "Madrid", and "Mr Minor". CD features two bonus tracks – "Finky Minky" and "Papa's Got A Brand New Pigbag". CD

A group that's not really folk, but who definitely have a special magic of their own – a collective ensemble who played on the Italian scene of the 70s, and who bring together free improvisation with a range of other earthy and organic elements! There's definitely some global currents going on here – and at points, the record's not far from some of the Don Cherry experiments of this nature – especially on passages that are heavy on percussion elements. But the size of the ensemble really gives them a strong force once they get going – and the saxes and flutes are sometimes merged with use of voice – only conventionally singing on one more straight ahead track on the record. Most musicians are ones that we don't recognize from other jazz efforts of the time – but the group does include flute from Nicola Stilo, who later played with Chet Baker – plus soprano and alto from Giancarlo Maurino, tenor from Mario Fulci, and altos from Sandro Satta and Luciano De Bonis. Titles include "Inno Per L'Imperatore", "Grass Leaf Rag", "Alice Alice Che Piange E Che Ride", "Free Bop New Bop", and "Monkey". CD

A group that's not really folk, but who definitely have a special magic of their own – a collective ensemble who played on the Italian scene of the 70s, and who bring together free improvisation with a range of other earthy and organic elements! There's definitely some global currents going on here – and at points, the record's not far from some of the Don Cherry experiments of this nature – especially on passages that are heavy on percussion elements. But the size of the ensemble really gives them a strong force once they get going – and the saxes and flutes are sometimes merged with use of voice – only conventionally singing on one more straight ahead track on the record. Most musicians are ones that we don't recognize from other jazz efforts of the time – but the group does include flute from Nicola Stilo, who later played with Chet Baker – plus soprano and alto from Giancarlo Maurino, tenor from Mario Fulci, and altos from Sandro Satta and Luciano De Bonis. Titles include "Inno Per L'Imperatore", "Grass Leaf Rag", "Alice Alice Che Piange E Che Ride", "Free Bop New Bop", and "Monkey". LP, Vinyl record album

A hell of a record from Brazilian pianist Amaro Freitas – an artist we already loved before, but who's really stepping forth boldly with this release! Freitas has a way with the piano that's unlike anyone else we can think of – that freshness we maybe first felt when hearing a player like Robert Glasper many years back – and he works in a trio setting at a level that completely transforms the format – thanks in part to the very inventive assistance he gets from Jean Elton on bass and Hugo Medeiros on drums and percussion! If you think Freitas looks righteous on the cover, just wait until you hear his music – as he's definitely the real deal, and bound to be a big force in the jazz generation to come. Titles include "Malakoff", "Nascimento", "Sankofa", "Ayeye", "Vila Bela", "Baquaqua", and "Cazumba". LP, Vinyl record album

The Zodiac never sounded so spooky – and the album's one of the first in a trend that explored astrology with funky musical backings! The music for the set was put together by moogy maestro Mort Garson – then making a transition from being a straight easy arranger in the early 60s, to more of a tripped-out pop-psychedelic artist of the latter part of the decade. Garson brings a nice funky undercurrent to the set – in a style that's similar to the work of David Axelrod, but which also uses a bit more electric instrumentation. Each track features a spoken bit on a Zodiac sign – written by Jacques Wilson, and spoken by Cyrus Faryar – and the album also features some nice moog work by Paul Beaver! Titles include "Aries", "Taurus", "Cancer", "Leo", and so on! (P.S.: The label says "Must Be Played In The Dark!") LP, Vinyl record album

A dozen previously-unreleased tracks from the great James Govan – presented here with work from some of his rare singles from Fame Records! All the music was recorded at Muscle Shoals when the scene was at its height – headed up by production whiz Rick Hall, and backed by the great Fame studio musicians – but it's Govan himself who really makes these tunes sparkle – singing with this rich voice that's clearly rooted in the 60s modes of Otis Redding, but which also stretch forth in a new style of his own! James has this earnest appeal on record that really echoes his image on the cover of the set – and there's a charm to these tunes that really goes beyond the usual southern soul of the period –far past any overdone cliches or commercial modes. The discovery of these dozen sides is a great thing for fans of southern soul – and they make a great counterpart to the few Fame singles that Govan ever issued. Titles include "I've Gone Too Far", "Something", "Stuck On Her", "Way Over Yonder", "I Shall Be Released", "You Get A Lot To Like", "Just Like A Woman", "Take Me Just As I Am", "Jambalaya", and "Wanted Lover No Experience Necessary". CD

A really wonderful album of obscure jazz recordings from the Chicago scene of the 70s – way more than just the usual school band record, as the tracks here are mostly originals, and performed by a very inventive group of musicians! Governor's State University was a very hip place at the time – a public college at the end of the main train line running through the south side of Chicago – which made the school a place of great opportunity and expression for the city's African-American community. Rather than a junior college, GSU had higher levels of learning – and had an especially strong jazz program, as you'll hear in this set – which features both sextet performances and work by a larger ensemble – both imbued with some of the best creative legacy of the Chicago scene. Things never go far outside, but there's definitely a deeper understanding of musical reaches taking place here – and the core quartet features Walter Henderson on cornet, John Pate on piano, Eugene Vineyard on tenor, Ronald Askew on guitar, Jeff Simon on bass, and Curtis Prince on drums. These players are in the larger group – which also features William Howell and Gerald Myrow on trombones, Vincent Carter and Steele Seales on saxes, and Kenneth Brass and Melvin Williams on trumpets. Titles include "Crabmeat", "Song For Suzanne", "Keishaz", "Give It One", "Listen Here", and "Spanish Samba". LP, Vinyl record album

A trio of albums from one of our favorite trumpeters on the European scene! First up is Portrait – a set that stands as a tribute to trumpeter Dusko Goykovich's 70 years on this planet – and a record that features him in a variety of settings too! Other players include Ferdinand Povel on flute and tenor, Tony Lakatos on tenor, Steve Gut on trumpet, Isla Eckinger and Ray Drummond on basses, Abraham Burton on alto, and Kenny Barron and Tommy Flanagan on pianos – on titles that include "Recado Bossa Nova", "Balkan Blue", "Adriatica", "One For Klook", and "Inga". Next is Swinging Macedonia – a legendary German session from the 60s – and a record that really showcases the unusual criss-crossing of modes that was going on in the European scene at the time! There's a very strong MPS vibe here – as trumpeter Dusko Goykovich leads a swinging sextet that includes Nathan Davis on flute, soprano, and tenor – blowing some tremendously soulful reed lines – plus incredible rhythms from Mal Waldron on piano, Peter Trunk on bass, and Cees See on drums. The record's an attempt to bring traditional Macedonian rhythms into a jazz perspective – but with players like these, it swings in a way any Macedonian album never could – damn soulful, and with a great exotic vibe. Davis is especially great, and plays in a soaring modal vein that's similar to his work on his classic MPS sides, and on the records he cut in America in the early 70s. The album's a beautiful session that often get's overlooked because it blends it with the Enja catalog – but it's really more of a record that belongs in an MPS reissue series, and is a great lost groover that's waiting to be rediscovered by the Dusty Groove crowd. Titles include "Macedonia", "Old Fisherman's Daughter", "Jumbo Uganda", "Bem Basha", "Saga Se karame", and "The Nights Of Skopje". Brandenberg Concert features one of the greatest trumpeters on the European scene of the past few decades – heard here in a completely sublime setting! Dusko Goykovich has played in many styles and many ways, but hasn't ever done a date with full strings before – a long-overdue placement for his wonderful tone on trumpet – shimmering out front of a larger ensemble, in the manner of classic "with strings" dates by Dizzy Gillespie or Art Farmer! Altoist Peter King arranged the album – and titles are all originals by Dusko, some of which you might know from earlier records – reworked here beautifully for the new setting. King also solos on a handful of tracks too – a rich voice that provides a nice balance with Dusko's trumpet. Strings are never overdone, and the album's always got a nice swing from a core rhythm trio that features Renato Chicco on piano. Titles include "Good Old Days", "Handful O Soul", "Danca Comigo", "St Germain Des Pres", "Adriatica", "In My Dreams", and "I Miss You So". CD

A pair of charmers from legendary producer Lloyd Charmers – served up here with lots of bonus tracks too! First up is the classic Sweet Bitter Love from Marcia Griffiths – a set that helped cement her reputation as one of the most soulful female singers in Jamaican music at the time – and one that really helps bridge worlds by serving up some great reggae-styled takes on American soul music! Marcia serves up sublime takes on tunes by Curtis Mayfield, Al Green, Roberta Flack, and others – completely reworked by Charmers' instrumentation – which also includes some wonderful keyboards! Titles include "Play Me", "Gypsy Man", "Sweet Bitter Love", "Green Grasshopper", "Just Don't Want To Be Lonely", and "Everything I Own". Far & Distant features wicked guitar work from Willie Lindo – spun out here over an all-instrumental set that almost feels more like Jamaican records of the late 60s than you'd guess from the mid 70s date of the album! The grooves are definitely more 70s – certainly with a strong reggae current – but the spare, stripped-down manner of presentation takes us back more to some of the instrumental rocksteady records – especially in the way the production allows for lots of focus on the core musician – which means you really get to hear all the wicked, trippy currents of Lindo's instrument – used in a heady style that almost makes him come across like the Phil Upchurch of the Jamaican scene! Lloyd Charmers produced, and also plays piano and organ – and titles include "Drum Song", "Darker Shade Of Black", "Midnight train To Georgia", "Samba Pati", "Chopper", "Hear I Am Baby", "Charmers Mood", "Mystic Mood", "Breezing", and "Holly Holy". 2CD edition features 20 more bonus tracks – 17 of which are new to CD – a full alternate mix of the Marcia Griffiths album, the tune "Midnight & You" by Willie Lindo, and more Lloyd Charmer productions from rare 7" singles – work by Big Youth, Drifting Blenders, Bob Andy, BB Seaton, Errol Thomas, and others. CD

An overlooked gem from the Detroit scene of the early 80s – played by a group who came after the generation of Tribe and Strata Records, but who went on to have some really slow-burning influence in their own sort of way! The music definitely has echoes of the loft and spiritual jazz scenes of the 70s – but the quintet also really open things up with some of the more flexible rhythms that were coming out of New York during the same period, and working with a slight touch of more ambitious structures – of the sort you might have heard on overseas labels recording American jazz musicians during the 80s. Reeds are at the core of the set – playec by the trio of Faruq Z Bey on tenor and alto, Anthony Holland on alto and soprano, and David McMurray on tenor, alto, soprano, and flute – given very creative energy by Tani Tabbal on drums, and Jaribu Shahid on both acoustic and electric bass. Titles include "Xy-Moch", "Zycron", "Zenelog Aintro", "Androgeny", "Kins", and "Xy Moch". LP, Vinyl record album

A fantastic record that not only continues the great blend of sounds that saxophonist Muriel Grossmann has given us in recent years, but also pushes things forward with a stunning combination that really knocks things out of the park! This isn't the first record to feature Muriel with the Hammond of Llorenc Barcelo and guitar of Radomir Milojkovic, but their combination here has a way of soaring to the skies like the mixture of Grant Green and Larry Young a their most far-reaching – so much so that Grossman's work on soprano sax and tenor is maybe an equal third of the record, instead of the dominant voice of the leader – a really generous way of heading up the group, and one that has the record coming across as the beneficiary of that generosity too. Things are still as spiritual as before, but maybe step back a bit to bring in some soulful organ and guitar currents from a previous generation too – at a level that continues to make Muriel one of our favorite contemporary players in jazz! Titles include "Clarity", "Resonance", "Post-Meditation", "Liberation", "Compassion", "Non-Duality", and "Interconnection". LP, Vinyl record album

Only the second album from Gypsy, but one that really has the group opening up their wings to soar – especially on the longer tunes that really feature some nicely freewheeling interplay between organ and guitar! Yet even on the shorter cuts, the sound between the two is great too – driven on by some rhythms that feature very tasty use of congas, in a way that might draw some slight comparison to Santana, although these guys maybe have some more mid-American elements in the mix too, almost a dash of light Allman Brothers at times! Whatever the comparisons, though, the whole thing is great – a really under-discovered gem that deserves to be in the bigger pantheon of the time – with cuts that include "Here In The Garden", "Blind Man", "Reach Out Your Hand", "Around You", and "As Far As You Can See". LP, Vinyl record album

A wonderful album from guitarist Jim Hall – different than some of his other work, and with a slightly harder edge! The unique session has him playing in an MPS 60s mode – more straight-on than some of his more airy moments – with a sound and tone that still recalls his work with Paul Desmond or Art Farmer, but a more direct approach, and an occasional groove as well! The trio's as unique as the record – the great Jimmy Woode on bass and drums from Daniel Humair – and titles include "Blue Joe", "Romaine", "Young One For Debra", "Body & Soul", and a great version of "Up Up & Away", which soars to the sky in a way you'd never expect from Jim! LP, Vinyl record album

Maybe the best work so far from trumpeter Matthew Halsall – and a wonderful continuation of the spiritual vibe he's been giving us for the past few years! Halsall's a real up-and-comer – a trumpeter with a spiritual sensibility that rivals the best players on 70s Impulse or Strata East sessions – working with a fluid, open quality that's unlike any other contemporary musicians we can think of! There's depth of sound to the record that rivals the best spiritual sessions from Build An Ark – or from Halsall's frequent partner and labelmate, Nat Birchall – whose tenor makes parts of the album sparkle as much as Matthew's trumpet. Other musicians include Rachael Gladwin on harp – an instrument used heavily on the record, in a cool Alice Coltrane-like way – plus Lisa Mallett on flute, Adam Fairhall on piano, and Holly Simpson on violin. Titles include "The Sun In September", "Finding My Way", "Sailing Out To Sea", "Mary Emma Louise", and "Fletcher Moss Park". LP, Vinyl record album

Mary Halvorson seems to expand her sound here a bit more than usual – not in that she's working with a large ensemble, or in any sort of too-ambitious ways – but just that she's mixing her very unique phrasing on the guitar with just the right blend of other instruments – all at a level that feels way more than just the sum of its parts! The sextet features work from Adam O'Farrill on trumpet, Jacob Garchik on trombone, and Patricia Brennan on vibes – the last of whom is especially great, and whose tones really do a lot to color the album and shape the sound. The trumpet's got a great presence too – trading nicely with the trombone – and titles include "Desiderata", "Collapsing Mouth", "The Gate", "Tailhead", and "Ultramarine". Plus, Laurie Anderson plays guest violin on "Incarnadine". CD

Mary Halvorson seems to expand her sound here a bit more than usual – not in that she's working with a large ensemble, or in any sort of too-ambitious ways – but just that she's mixing her very unique phrasing on the guitar with just the right blend of other instruments – all at a level that feels way more than just the sum of its parts! The sextet features work from Adam O'Farrill on trumpet, Jacob Garchik on trombone, and Patricia Brennan on vibes – the last of whom is especially great, and whose tones really do a lot to color the album and shape the sound. The trumpet's got a great presence too – trading nicely with the trombone – and titles include "Desiderata", "Collapsing Mouth", "The Gate", "Tailhead", and "Ultramarine". Plus, Laurie Anderson plays guest violin on "Incarnadine". LP, Vinyl record album

A wonderful Herbie Hancock session from the 60s – a Blue Note album that's sometimes overlooked, but which really shows Herbie taking off – as he adds a nice dose of lyricism into his usual soul jazz approach from the 60s! The sound's a bit farther-reaching than on some of Hancock's smaller group sessions – and the record features a sextet that includes Jerry Dodgion on flute, Thad Jones on flugelhorn, and Peter Phillips on bass trombone – an instrument that combines wonderfully with Thad's horn, to create all these cool, compressed elements. Herbie plays piano alongside Ron Carter on bass and the great Mickey Roker on drums. The harder-hitting soul jazz riffs and hooks of Herbie's first few records are nicely replaced by more thoughtful lines that get a bit deeper, soulfully – and nearly all tracks on the set are originals by Hancock! The album's filled with great moments – and tracks include "The Sorcerer", "Riot", and "Goodbye To Childhood". LP, Vinyl record album

A wonderful Herbie Hancock session from the 60s – a Blue Note album that's sometimes overlooked, but which really shows Herbie taking off – as he adds a nice dose of lyricism into his usual soul jazz approach from the 60s! The sound's a bit farther-reaching than on some of Hancock's smaller group sessions – and the record features a sextet that includes Jerry Dodgion on flute, Thad Jones on flugelhorn, and Peter Phillips on bass trombone – an instrument that combines wonderfully with Thad's horn, to create all these cool, compressed elements. Herbie plays piano alongside Ron Carter on bass and the great Mickey Roker on drums. The harder-hitting soul jazz riffs and hooks of Herbie's first few records are nicely replaced by more thoughtful lines that get a bit deeper, soulfully – and nearly all tracks on the set are originals by Hancock! The album's filled with great moments – and tracks include "The Sorcerer", "Riot", and "Goodbye To Childhood". Features bonus tracks – two takes of "Riot", and an alternate of "Goodbye To Childhood". CD

One of the most striking Don Pullen albums of the 80s – a beautifully open session that has the pianist co-leading a version of the 360 Experience group of drummer Beaver Harris – with an excellent lineup that also features Ricky Ford on tenor sax, Hamiet Bluiett on baritone, and Buster Williams on bass! The mix of players is unusual, and the sound here is as well – a record that easily steps between freer moments and more tuneful passages – imbued with the creative spirit of the loft jazz generation, but also taken a step further too – possibly via the album's production work by Hal Willner. There's some truly majestic moments on the album – and the whole thing is a great demonstration of the way that the farther fringes of the jazz universe were finding even more focused expression in the 80s – during a time when records like this really helped give musicians a great outlet for their new ideas. The set begins with the very long "Goree", which has additional work by Candido on percussion – and other tracks include "Land Of The Pharoahs", "Double Arc Jake", and "Newcomer". CD

To most ears, trumpeter Jon Hassell first burst on to the world through his experiments with Brian Eno on EG Records, or maybe his 80s work on ECM – but here, on his debut for the small avant label Lovely Music, it's clear that Jon's already in complete control of his sound – and is ready to become the kind of performer that would captivate listeners for decades to come! Hassell's horn has that special sort of effect quality on most numbers here – spacey, but never slick – and electrified, but far from any sort of Miles Davis mode – especially considering that the music is full of earthy, organic percussion from Nana Vasconcelos and some other players, who balance out the set's work on Fender Rhodes, Arp, and Serge synthesizer. The spirit of the set is very much in Hassell's classic "fourth world" recordings – and titles include "Toucan Ocean", "Hex", "Blues Nile", "Vernal Equinox", and "Caracas Night September 11, 1975". LP, Vinyl record album

A great set by Hampton Hawes – really one of his best ever records, and for a number of reasons! First up, Harold Land's playing tenor on the record, opening it up a lot more than some of Hamp's regular trio sides. Secondly, the bassist on the set is Scott LaFaro, the challenging modernist from Chicago who played such great work with Ornette and Sonny Rollins, and who gives the session a fresher tone than some of Hawes' other recordings. Lastly, the tracks are longish, giving both Land and LaFaro plenty of room to roam, making for a much more adventurous record overall. Titles include "Hip", "Crazeology", "I Love You", and "Numbers Game". LP, Vinyl record album

A wonderful session by Andrew Hill – recorded in 1968, but issued only briefly in 1981 – and out of print for years! The session is a key one in understanding Hill's work – as it's a bridge between the arch modernism of his early Blue Note sides, and the more soul-oriented playing of the Grass Roots album. The set features wonderful frontline work in the trumpet of Charles Tolliver, and tenor and soprano of Joe Farrell – both players who open up the sound at the same time they're giving it a nice bottom – egged on by the rest of the combo, which includes Victor Sproles on bass and Billy Higgins on drums. The album's an enchanting one – not as dark as early years, but still with a compelling vision that's all Hill's own. Titles include "Dance With Death", "Love Nocturne", "Black Sabbath", "Partitions", and "Fish N Rice". LP, Vinyl record album

A wonderful session by Andrew Hill – recorded in 1968, but issued only briefly in 1981 – and out of print for years! The session is a key one in understanding Hill's work – as it's a bridge between the arch modernism of his early Blue Note sides, and the more soul-oriented playing of the Grass Roots album. The set features wonderful frontline work in the trumpet of Charles Tolliver, and tenor and soprano of Joe Farrell – both players who open up the sound at the same time they're giving it a nice bottom – egged on by the rest of the combo, which includes Victor Sproles on bass and Billy Higgins on drums. The album's an enchanting one – not as dark as early years, but still with a compelling vision that's all Hill's own. Titles include "Dance With Death", "Love Nocturne", "Black Sabbath", "Partitions", and "Fish N Rice". CD features a bonus alternate take of the title cut. CD

A legendary psych set from the Chicago scene of the late 60s – served up by a group who take their name from the famous horror author HP Lovecraft, and who get some sublime production from Dunwich – also another Lovecraft reference! The group have a really unique vibe – in that they've got some of the eeriness of late folk, mixed with fuzzier psychedelic instrumentation – vocals that have that quality from that moment in the summer of love when the sunshine children were starting to realize that the world was a darker place – with lots of spooky spaces to explore! The instrumentation is great – with all sorts of elements that really open up the sound, like harpsichord, clavichord, flute, tympani, 12 string guitar, and guitaroon – and the harmony vocals of the group really have an unsetting vibe. Jazzman Eddie Higgins plays a bit of vibes, and handles some larger arrangements – and titles include "I've Been Wrong Before", "The Time Machine", "That's How Much I Love You", "Wayfaring Stranger", "Let's Get Together", and "That's The Bag I'm In". CD

Michael Hudson Casanova is a saxophonist, but the sound of the record draws equally strongly from the contributions of Erik Skov's guitar – a player whose sense of color is balanced wonderfully by the sharper edges of the saxophone – then given some nice structure through the work on drums by Gustavo Cortinas Fouilloux! The work on the record has a slow-building, spacious vibe – maybe not too far from contemporary ECM, but a lot warmer overall – thanks in part to the very expressive sounds of the leader – a player who can cover a lot of ground, but all without going outside – and never in a way that's showy or calls too much attention to itself. James Davis joins the group on trumpet on one track – and titles include "The Now", "Animus", "Infinite Perspective", "Continuum", "Etude For Clementine", "What If Everything Is Not Enough", and "Recycle". LP, Vinyl record album

Sublime genius from funky flute player Bobbi Humphrey – a record we'd rank right up there with her classic Blacks & Blues set – and like that one, another fantastic collaboration with producer Larry Mizell! The groove here is tremendous throughout – a heady mix of Bobbi's flute, Larry's keyboards, and some additional work from Jerry Peters, Skip Scarborough, and other 70s funky jazz legends – all coming together in a large lineup that works together with an amazingly tight and stripped-down groove – a sound that seems to flow effortlessly from the breeze, but which was the long result of careful work in the studio by Larry Mizell and his brother Fonce, who also helped on arrangements. Humphrey is in excellent form – blowing with a tone that's hard, crisp, and very soulful – and the spacey keyboards and gentle grooves lift her flute way out into the cosmos, yet never push things too far! Every cut's a winner – and titles include "You Make Me Feel So Good", "Please Set Me At Ease", "Uno Esta", "The Trip", "Fancy Dancer", and "Mestizo Eyes". LP, Vinyl record album

The album may not have been much of a Money Maker for Studio One Records – given that it's one of the rarest in their catalog – but it stands as a key illustration of the label's genius, and just how far away they were from most of their contemporaries! The set's a bit of a split effort in the studio – mostly tracks credited to the duo of Im & David, who are Cedric Im Brooks and David Madden – plus a few others handled by keyboardist Jackie Mittoo, and a few by others thrown in for good measure! Yet as on most indie reggae efforts of the time, there's a very unified vibe to the whole thing – especially as the album's a mostly instrumental outing, and most likely features the same players working together on different tracks – contributions from Sound Dimension, Soul Vendors, and Soul Brothers – plus some sweet guitar from Ernest Ranglin. Titles include "Money Maker", "Black Is Black", "Soul Brother", "Soul Walk", and "Candid Eye" by Im & David; "Stormy Night", "Mixing", and "Feel It" by Jackie Mittoo; "Black Man's Train" by Lloyd Williams; and "Great Gu Gu Mu Ga" by The Boss. CD

Essential funk in a single set – three killer albums from James Brown's legendary backing group! First up is Food For Thought – the classic first album by The JBs – James Brown's Fred Wesley-led backing band, and the force behind most of his greatest records of the early 70s! The band are incredible at this point – sharper, harder, and funkier than just about any other combo around – and that includes all the thousands of groups in the funky 45 underground who were always trying to copy their sound, but never got things this right! Not only are the rhythms the stuff of legend – but the use of the instruments is far far above the norm – as can be heard on the mindblowing "The Grunt", which was sampled heavily by Public Enemy to great fame – and which features a saxophone solo that sounds more like a whistling tea kettle! The set collects some of the group's best early singles, and includes all of the short little funky cuts that made them a legend right out of the box – "Pass the Peas", "The Grunt", "These Are The JBs", "Hot Pants Road", "Wine Spot", "To My Brother", "Blessed Blackness", "Theme From King Heroin", "Escapism (parts 1 & 2), and "Gimme Some More" – all together here in one tight little album of massive funky hard beats and breaks! Doing It To Death is an incredible album – a landmark piece of funk that nobody should be without, funk fan or not! The album is the second to feature James Brown's famous backing combo of the early 70s – and unlike their first one, which was really more of a collection of singles, this album has the group playing hard, long, and loud, in the free funk improvisational mode that was James' real contribution to the music at the time. The tracks are all incredibly long, with James at the forefront, egging the band on with shouts and comments – but also letting them open up large instrumentally, playing in a mode that's as much jazz as it is funky soul. The whole thing's peppered with some nice shorter segues between tracks – but the long cuts are the winners, and are some of the best funk ever recorded! Titles include "Mo Peas", "Doing It To Death", "La Di Da La Di Day", "You Can Have Watergate, Just Gimme Some Bucks & I'll Be Straight", and "Sucker". Last up is Damn Right I Am Somebody – quite possibly our favorite record by the JBs, ever! The set starts with a wonderful conversational bit – rapping and musing on the idea of "Damn Right, I Am Somebody" – showing the group in a political and righteous mode for the first time ever. The grooves then kick in – with the same heavy funk as on earlier records, but also a nice nod towards experimental production – from strange fade ups and fade downs, to stark time and rhythm changes, and even bits of electronics used to create some very cool moments in the grooves! The whole thing's as dead funky as can be, and is stuffed with insane classics like "Blow Your Head", "Same Beat", "Damn Right I am Somebody", "I'm Payin' Taxes, What am I Buyin'", and a great cover of Marvin Gaye's "You Sure Love to Ball"! CD

A really unique project from the Serbian underground of the 80s – a record that mixes together global elements, electronics, and some other live instrumentation – all in a way that's as tuneful as it is experimental, and which has a nice sort of post-punk sense of freedom throughout! The music reminds us a lot of some of our favorite work from farther up on the European scene – particularly records on the Crammed label, as this set shares a similar sense of wider sensibilities coming into play with new technologies of the time, yet handled in a way that's very personal and poetic. The duo bring a bit of vocals to the record, but most of the music comes from the interplay between acoustic and electronic elements – on titles that include "Gitanes", "Gajeiro", "Rhinoceros II, "Sometimes At Nine", "In The Sky", and "Rumba Balcana". LP, Vinyl record album

A wonderful batch of rare Motown material from Detroit singer Marv Johnson – a vocalist who started out working for Berry Gordy in the late 50s, recording the some of the first material to be released on the Tamla Motown label, and recorded all of the terrific material on this set for Motown from the mid 60s to the start of the 70s! Johnson didn't find his way into the historical canon the way many of the great solo singers and groups he helped pave the way for, but he's no less worthy! This set from Kent UK includes all the tracks from the I'll Pick A Rose For My Rose LP plus previously unreleased numbers numbers and rare mono single mixes – really beautiful stuff and a vital rediscovery of Marv's overlooked work at Motown! Titles include "I'll Pick A Rose For My Rose", "I'm Not A Plaything", "Why Do You Want To Let Me Go", "Bad Girl", "I Miss You Baby (How I Miss You)", the previously unreleased gems "There Goes A Lonely Man", "Understanding", "Farewell Is A Lonely Sound" and more, plus mono versions of several album tracks. 26 tracks in all! CD

One of the few albums ever cut by reedman Rudolph Johnson – a hell of a saxophonist, and one with a great ability to combine the spiritual with the searing – a bit like Joe Farrell at his CTI best, but not as freewheeling – nicely focused, and a little bit funky in all the right parts – in ways that make this album one of the real standouts on the legendary Black Jazz label! The groove is nice and hard, and plenty dark – with lots of sharp edges around the offbeat rhythms, and a "bite" that makes the album one of the heaviest titles on the label. Other players include John Barnes on piano, Reggie Johnson on bass, and Ray Pounds on drums – and titles include the great "Diswa", which has sort of of a tight jazzy hip hop sample feel to it, plus "Mr TJ", "Little Daphne", and "Spring Rain". LP, Vinyl record album

Elvin Jones rose to fame in the company of one of the greatest saxophone players ever – the mighty John Coltrane – and his post-Coltrane work like this really continues a keen respect for the role of the reeds in jazz – and really does a lot to push it forward as well! There's a compelling edge to the record that's light years from Elvin's work with Coltrane – a completely new sensibility that can be spacious one minute, extremely powerful the next – and quite possibly realized to its fullest potential here, thanks to the mindblowing contributions of Dave Liebman on tenor and soprano sax, Frank Foster on tenor and flute, and Joe Farrell on alto and soprano sax. All three players work together on each track – and all shift reeds throughout the session – opening up majestically with inspiration from Elvin's drums, and some wonderful work from Gene Perla on bass. The sound is beyond easy categorization or simple style – and the record's filled with wonderful titles that include "PP Phoenix", "For All The Other Times", "Three Card Monty", and "Cecilia Is Love". LP, Vinyl record album

The title's a great one for this post-Coltrane cooker from Elvin Jones – as the set really has Elvin exploring some really fresh currents in jazz, with a range of complicated rhythms that really pull the whole session along strongly! Rhythm is really set free on the record – as Elvin works to unlock some tremendous new possibilities in jazz, but all at a level that's quite different than his previous work with his famous leader – a rich tapestry of new spiritual expression that's carried off wonderfully by Joe Farrell on flute, tenor, and English horn – plus George Coleman on tenor, Pepper Adams on baritone, and a bit more flute from Fred Tompkins. There's no piano on the album at all – and Wilbur Little plays some tremendous bass, with some occasional conga work from Candido as well. Titles are all originals by group members – or Mrs Jones – and titles include "Whew", "Agenda", "Agappe Love", "Mr Jones", and "Yes". LP, Vinyl record album

The title's a great one for this post-Coltrane cooker from Elvin Jones – as the set really has Elvin exploring some really fresh currents in jazz, with a range of complicated rhythms that really pull the whole session along strongly! Rhythm is really set free on the record – as Elvin works to unlock some tremendous new possibilities in jazz, but all at a level that's quite different than his previous work with his famous leader – a rich tapestry of new spiritual expression that's carried off wonderfully by Joe Farrell on flute, tenor, and English horn – plus George Coleman on tenor, Pepper Adams on baritone, and a bit more flute from Fred Tompkins. There's no piano on the album at all – and Wilbur Little plays some tremendous bass, with some occasional conga work from Candido as well. Titles are all originals by group members – or Mrs Jones – and titles include "Whew", "Agenda", "Agappe Love", "Mr Jones", and "Yes". CD

Proof that Elvin Jones wasn't just riding on the laurels of the Great One during his years with John Coltrane – as the album's a breakout date that has Jones firmly establishing his own voice in jazz! There's an explosive power here that makes us think that Elvin must have really just been biding his time with Coltrane – waiting for the chance to try out his own new ideas in music, and finding the perfect accompanists here in a trio that includes Jimmy Garrison on bass and a young Joe Farrell on tenor, soprano sax, and flute! The lack of a piano in the group really makes for a sense of new freedom that's totally great – not dreamy, melodic piano-less work, as in some of the LA groups of earlier years – but a searing, soaring intensity that Farrell was a perfect choice to head up. And while the format might serve to be an excuse for Coltrane-styled blowing, the approach here is decidedly not – a more focused, energy driven approach that really makes strong use of Jones' work on the drum kit, throbs with soulful undercurrents from Garrison's bass, and is topped off by angular, effortlessly-blown lines from Farrell – clearly pointing the way towards a generation of players that would emerge in his wake during the 70s. Tracks include "Village Greene", "Reza", "Kei Ko's Birthday March", and "Sweet Little Mama". CD

A monster set of work by one of the funkiest guitar players ever! Ivan Boogaloo Joe Jones recorded a number of sides for Prestige Records during the early 70s – but this rare gem came out after all those, in 1975, on the tiny Joka label, and never really got into proper circulation at the time – making it one of THE indie jazz funk classics of the 70s! The album's actually one of Boogaloo's best – and has a rougher edge than his Prestige albums – heard to great effect on the two standout funky cuts, "Sweetback" and "Confusion" – both of which are stunners that feature Jones really ripping away on the guitar! The whole set's nice, though – and other tracks include "You've Got It Bad Girl", "Trouble In Mind", and "Jamaica Farewell". CD

Plenty cool sounds from Joyce – a lady who's always been the definition of the world used in the title – thanks to her totally unique, totally wonderful style! The album's one of a number of recent gems that have Joyce really going back to basics – hitting that soaring blend of vocals and acoustic guitar that first made her 70s recordings so great, cut here with small combo instrumentation that includes Tutty Moreno on drums and Helio Alves on piano. But the real charm, as always, comes from Joyce – the way she works her voice, plays her guitar, and ties the two of them together in a manner that's unlike anyone else – a sound inspired by bossa, inflected by jazz, but totally her own throughout. Familiar tunes get completely remade with the approach – as you'll hear on the set – which includes these sublime Joyced-up versions of "Cool", "Let's Do It", "Love For Sale", "Fever", "The Shadow Of Your Smile", "Invitation", and "Moon River" – all sounding very unique, and plenty darn cool! CD

A record that could have been the biggest breakthrough in the career of the legendary Joyce – yet the set was never issued at the time! The late 70s session has Joyce recording in New York, under the guidance of studio maestro Claus Ogerman – who has a wonderful way of elevating the overall quality of the proceedings, while never getting in the way of that special magic that made Joyce so wonderful – especially on her albums for EMI! As with those records, Joyce plays acoustic guitar alongside her amazing vocal approach – a style that's unlike anything else we can describe – informed by jazz and Brazilian music, yet soaring and gliding in a completely sublime style – awash in color and light as it flies to the sky. Mauricio Maestro helped out heavily on the record too – and the other players include Mike Manieri on vibes, Michael Brecker on tenor, Joe Farrell on flute, and Nana Vasconcelos on percussion – on titles that include a fantastic early reading of "Feminina" – plus "Miserios", "Descompassadamente", "Pega Leve", "Ciclo Da Vida", "Coracao Sonhador", and "Moreno". CD

A record that could have been the biggest breakthrough in the career of the legendary Joyce – yet the set was never issued at the time! The late 70s session has Joyce recording in New York, under the guidance of studio maestro Claus Ogerman – who has a wonderful way of elevating the overall quality of the proceedings, while never getting in the way of that special magic that made Joyce so wonderful – especially on her albums for EMI! As with those records, Joyce plays acoustic guitar alongside her amazing vocal approach – a style that's unlike anything else we can describe – informed by jazz and Brazilian music, yet soaring and gliding in a completely sublime style – awash in color and light as it flies to the sky. Mauricio Maestro helped out heavily on the record too – and the other players include Mike Manieri on vibes, Michael Brecker on tenor, Joe Farrell on flute, and Nana Vasconcelos on percussion – on titles that include a fantastic early reading of "Feminina" – plus "Miserios", "Descompassadamente", "Pega Leve", "Ciclo Da Vida", "Coracao Sonhador", and "Moreno". LP, Vinyl record album

A beautiful collaboration between two of our favorite Brazilian artists ever – the lovely Joyce and bossa piano legend Joao Donato – both of whom have held onto all of their best early charms of their music! The session's definitely got a Joyce flavor upfront, as she's the main vocalist – but Donato's piano is a strong factor too – pulsating wonderfully with those warmly-crafted rhythms he's always done better than anyone else – that unique stop/start groove first forged in the 60s, heard best on his 70s work, and resurrected here to provide a fresh new setting for Joyce! Arrangements are by Donato and Joyce, and by Jesse Sadoc, who plays trumpet in the group – and the production's got a slightly rootsy quality, without any too-slick modes that might hurt the intimacy of a special session like this. Titles include "Amazonas No 2", "Feminina", "Aquarius", "Chama O Donato", "Tardes Caricas", "Caymmi Visita Tom", and "Amor Nas Estrelas". CD

Incredibly lovely work from Joyce – quite possibly her best album in years, and a set that's filled with the same scatting brilliance we loved in her classics from the 70s and 80s! The set's done in collaboration with husband/drummer Tutty Moreno – and the pair lead a small combo with a nicely jazzy feel that further enforces the freely soaring lines in Joyce's vocals! Instrumentation includes a shifting array of saxes, flute, clarinet, and piano – plus plenty of warm guitar from Joyce, played with a crystal clear and sensitive sound. Titles include "Garoto", "Sabe Quem", "Tema Pro Baden", "Bodas De Vinil", "Magica", "Penalty", "April Child", "Shangri-La", and a great cover of Tenorio Jr's classic "Embalo". CD

Juan De La Cruz is a band, not a guy – and they're one of the hardest rocking combos of the far east in the early 70s! The trio's propelled strongly by some razor-sharp guitar from Wally Gonzales – a player who stands mightily with some of the biggest British names of a few years before – but who's all the more compelling because of his lack of commercial fame in this scene. Vocals are often in that same blues-into-rock mode initiated by the Rolling Stones – but are often taken to weirder, wilder territory overall. Titles include "Round & Round", "I Wanna Say Yeah", "Take You Home", "Shake Your Brains", and "Big Boss Man". CD

The solo debut of Junie Morrison – a crazy little album recorded for Westbound in the time after he split company with The Ohio Players – and a set that's definitely got the weirdly wonderful mix of music that group was known for in their pre-Mercury years! Junie effortlessly moves between a number of styles, all with a great degree of wit – still keeping things funky in all the best ways, but also really experimenting with larger sounds and unusual arrangements – which come into play here in a really wonderful way! The album's an overlooked funk treasure from the 70s – far too sophisticated for its own time – and titles include "Walt's Third Trip", "Tight Rope", "Johnny Carson Samba", "Anna", "Loving Arms", "Married Him", and "The Place". LP, Vinyl record album

An insanely wonderful set from Sean Khan – maybe the greatest music he's done since his early classics with the SK Radicals! This album really takes us back to a time when music from London was completely fresh and exciting, and cosmically soulful, too – and Sean's got help from some great singers on the record who also date from that era – including the mighty Omar, plus Sabrina Malheiros, and vocalist Heidi Vogel of Cinematic Orchestra! All three of these artists really flesh out the sound of the record – and make it every bit as much of a soul record as a set that's awash in all the great reed touches and jazzy bits we'd expect from Sean. Andy Noble's also on the record, playing some wonderfully warm piano lines – and the overall instrumentation has more acoustic elements than before, which makes for a very righteous vibe throughout! Titles include "Dance For Little Emily", "Muriel", "Samba Para Florence", "Sister Soul", "What Has Jazz Become", "Trane's Shadow", "Don't Let The Sun Go Down", and "Fire Within" – plus bonus remix tracks "Don't Let The Sun Go Down (4Hero rmx)", "Samba Para Florence (Henry Wu rmx)", and "Things To Say (Ben Hauke rmx)". CD

Not a slow burner, but a real cooker – served up here by a sweet London combo with a great mix of spiritual jazz and sweeter soul! Sean Khan leads the group, and plays some mighty sharp-edged alto and soprano sax – and other instrumentation includes Fender Rhodes, bass, and drums – often used in ways that follow Khan's lead on the instrumental tracks – but with a smoother, warmer feel on some of the numbers that feature female vocals in the lead! These cuts have a soulfulness that takes us back to the best years of the London scene – and they really sound great next to the instrumental numbers, which have a sharper feel overall – making for an album that's got a much richer voice than usual for this type of set. Titles include "Fluxman", "Piny Annie", "What Is Jazz", "El Presidente", "Black Narcissus", and "Castro De Castro". CD

A beautiful large concept work from UK saxophonist Cassie Kinoshi – one that features a rich array of players, all folded together in a warmly spiritual sound! There's echoes of some of the other mellow work on the International Anthem label here, but also more of the righteous currents of artists on the Gondwana label – all pushed even farther into more sophisticated territory with the larger arrangements in the music – which echo a Charles Stepney sort of majesty! Kinoshi leads the group on alto sax, and the lineup features trumpets, tenor, trombone, piano, guitar, bass, and drums – mixed with light strings, and even some flute and turntables too. The album's one long work that progressed beautifully in six parts – and is completed by another live recording from Total Refreshment Centre, "Smoke In The Sun". CD

A beautiful large concept work from UK saxophonist Cassie Kinoshi – one that features a rich array of players, all folded together in a warmly spiritual sound! There's echoes of some of the other mellow work on the International Anthem label here, but also more of the righteous currents of artists on the Gondwana label – all pushed even farther into more sophisticated territory with the larger arrangements in the music – which echo a Charles Stepney sort of majesty! Kinoshi leads the group on alto sax, and the lineup features trumpets, tenor, trombone, piano, guitar, bass, and drums – mixed with light strings, and even some flute and turntables too. The album's one long work that progressed beautifully in six parts – and is completed by another live recording from Total Refreshment Centre, "Smoke In The Sun". LP, Vinyl record album