Link Wray is definitely Jack The Ripper here – ripping away with incredible guitar work that may well top his famous hits of the late 50s! The set is one of the sharpest ever issued by Philly indie Swan Records – an early home to The Beatles too – and the label's quick demise makes the set one of the more obscure Link Wray recordings, and a key bridge between his years to come as a singer and his early work that helped revolutionize the sound of the electric guitar! The production is great – almost some west coast sonic experiments at times – and titles include "Rumble", "Cross Ties", "Run Chicken Run", "Big Ben", "Dinosaur", and "Fat Back". CD

Looking for the magic? There's plenty of it here – a really magical blend of 70s American groups who were working in territory that was neither classic rock, nor punk, nor prog, metal, or other big styles at the time – hitting a unique blend of modes that was partly a revival of simpler styles of earlier years in rock music, but also embracing some of the more advanced studio and recording techniques of the time – catchy, yet never overtly commercial – but instantly appealing too! Phew – if it sounds like we're spinning a lot of plates at once, that's what it takes to come up with the special sound of these tracks – served up in a wonderfully-done collection that really opens up past some of the more obvious choices, and flies the power pop banner in some surprising territory that really works well. There's a massive 76 titles on the set, all presented with very detailed notes – with work from Eric Carmen, The Runaways, Cheap Trick, Andrew Gold, The Babys, Tommy Hoehn, Spitballs, The Moberlys, Grin, Bread, Flamin Groovies, Blue Ash, The Wackers, Stories, Crabby Appleton, Target, Tim Moore, Nils Lofgren, Sneakers, The Quick, Tuff Darts, 20/20, Cheese, The Names, Moon Martin, The Knack, Greg Kihn, and many others! CD

Includes music from the Flinstones, Huckleberry Hound, the Jetsons, Scooby Doo, Josie & the Pussycats, Snagglepuss, Quick Draw McGraw, Yogi Bear, and more! CD

A great portrait of an under-recorded artist – Joe Albany's last album ever, recorded for Elektra records during their early 80s run of straight jazz sides! The record's got a spare, personal quality that's similar to Albany's other late work – but it's a bit more professionally put together too – not slick or commercial, but recorded quite thoughtfully, with clearly a lot of care in getting all of Joe's charms through on the record. There's a tentativeness to his keyboard work that's great – a sort of hesitation, then quick move forward with surprising grace – balancing beautifully in ways that warm us to his music even more than before. Other players include Al Gafa on guitar, George Duvivier on bass, and Charlie Persip on drums – but the record really has a main focus on Albany's piano lines. Titles include "Ruby My Dear", "Guess I'll Hang My Tears Out To Dry", "Autumn In New York", "They Say It's Wonderful", "For The Little Guy", and "Too Late Now". CD

A wicked bit of funky jazz from reedman Harold Alexander – and a set that's much sharper and harder-edged than some of his later work! There's maybe a bit of freedom in the mix, here too – some post-Coltrane spiritualism that mixes with some of the more funk-based currents – which include excellent electric piano by Neal Creque, and tight funky drums by Pretty Purdie! The tracks are all nice and long, but have a completely different approach than you'd find on labels like CTI or Prestige at the same time – both more complex, but maybe also more spontaneous too – in ways that really make the album a treasure all the way through, and has us wishing that Harold gave us a lot more like this. Titles include the classic "Sunshine Man", plus "Tite Rope", "Quick City", and "Mama Soul". CD

A beautiful later set from Lorez Alexandria – produced by Houston Person, and put together with a sensitivity that really stands out! Although Lorez always sparkles on tunes that swing, she really rises to the occasion even more here on the ballads – really gentle tunes that are taken in a laidback, personal sort of way – sometimes stretching out to the 10 minute mark, and presented by Lorez in a way that's open, unhurried, and a far cry from the usual quick take on an evergreen standard. The group features the great Gildo Mahones on piano – plus Herman Riley on tenor, Grant Geissman on guitar, Andy Simpkins on bass, and Sherman Ferguson on drums. Mahones handled the arrangements – always a plus – and titles include "I Should Care", "Love Walked In", "I'll Never Stop Loving You", "No Moon At All", "All My Life", "For All We Know", and "In The Wee Small Hours Of The Morning". CD

The second album from Can – and one that the group maybe likes to think of as more of a bridge between Monster Movie and Tago Mago – tracks done for a variety of film projects, but which also still really show the quick evolution of the group at the time! Some of the work still features original singer Malcolm Mooney, and others feature the new rising star of Damo Suzuki – but what might be most striking here is the drum work of Jaki Liebezeit, who already seems to be pushing forward with that rhythmic pulse that would soon make the early 70s Can so amazing – recorded with stark brilliance and blended with edgey percussion, at a level that makes most of the tracks unlike anything else the world had ever heard before! Of course, there's still plenty of tremendous bass from Holger Czukay, guitar from Michael Karoli, and keyboards from Irmin Schmidt – all of whom sound amazing here – on titles that include "Mother Sky", "Deadlock", "Tango Whiskeyman", "Don't Turn The Lights On Leave Me Alone", "Soul Desert", and "She Brings The Rain". CD

A very nice return to basics for Ron Carter – a trio session that features Mulgrew Miller on piano and Russell Malone on guitar, with Ron playing simply bass – and working in a straight jazz style that's really a refreshing change from some of his higher-concept projects! The lack of drums and use of guitar takes us back almost to the sound of the early Jamal trio – but there's an overall feel here that's more open, and more fluid – really adding some depth to tunes that might otherwise come across a bit too academic. Titles include the originals "NY Slick", "On & On", "A Theme In 3/4", "Parade", "Quick Sketch", and "Cedar Tree". CD

Amazing stuff from No Wave legends DNA – 32 tracks from long out of print singles, EPs and live recordings – many on CD for the first time ever! DNA was one of the most uproarious acts in that increasingly legendary NYC scene – featuring Arto Lindsay's scratchy guitar and haggard banshee wail of a lead vocal presence, those primitive Bowery funk keyboards by Robin Krutchfield, and thumping, metronomic bass and drums by Tim Wright and Ikue Mori. The band's songs rarely marched past the 2 1/2 minute mark or so, getting in-and-out for a quick catharsis. These tracks trace the range of the under-recorded group perfectly, from the raw punk squall of the early singles to the funkier, sinister post disco sound later on. Amazing, awe inspiring stuff from a scene that keeps on belching greatness! Great notes and photos, here too! Includes "You & You", "Egomaniac's Kiss", "Not Moving", "Size", "New Fast", "New New", "Young Teenagers Talk Sex", "Police Chase", "Cop Buys A Donut", "Nearing", "Low", "Brand New", "Horse", "Forgery", "A New Low" and tons more! CD

Elmer Gantry's Velvet Opera weren't the biggest group on the British scene of the late 60s, but they were certainly one of the coolest – as you'll hear on this massive collection that brings together all their key work of the time! First up is the self-titled debut album – stunner of a set from a group who should have been huge – especially given the sharpness and wit of this debut album! Elmer Gantry's Velvet Opera bring together all the best strands of up and coming Brit rock of the time – a bit of psych undercut with some bluesy elements, marked by a moddish smirk that really keeps the whole thing punched-up throughout – no overindulgence, no easy mark for a hit – just a very individual sensibility that few of the group's underground contemporaries could match! These guys come across with all the personality of The Who in Happy Jack/Magic Bus years – and have a similar use and distance of trippy elements of the time – almost tongue in cheek, but just because they find a way to shift between them and straighter rock so easily. Songs are all great, and really well-written – and apart from a version of Oscar Brown Jr's "I Was Cool", the set features original material that includes "Mother Writes", "Mary Jane", "Flames", "Lookin For A Happy Life", and "Walter Sly Meets Bill Bailey". Next is the group's second album Ride A Hustler's Dream – a set that maybe has the group bringing in more blues influences to the music at times, but mostly as a way to let both the guitar work and vocals get even fuller and strongly expressed – which means that when the psychedelic elements come into the mix, there's an even more powerful vibe than on their debut album too! Titles include "Black Jack Davy", "Ride A Hustler's Dream", "Honey By", "Anna Dance Square", "Depression", "Warm Day In July", and the very cool "Raga" – and a great remake of "Eleanor Rigby". 3CD set features the debut album in a rare promo-only mono mix, plus 34 bonus tracks that include "There's A Hole In My Pocket", "She Keeps Giving Me These Feelings", "The Painter", "And I Remember", "Talk Of The Devil", "Dreamy", "Volcano", "A Quick B", and lots more – including singles and BBC tracks too! CD

A standout album for Gilberto Gil from the mid 80s – and a record that broke him out to a wider variety of audiences, thanks to some quick licensing by Celluloid! Gil's really hitting a strong world dancefloor groove here – with lots of his older funky lines still in place, crafted around some hook-heavy production from Liminha. The album's filled with catchy tunes that still preserve a rootsy and authentic feel – and titles include a great remake of the classic "Soy Loco Por Ti America", plus "Vida", "Aquele Abraco", "Baba Alapala", "Jubiamba", "Mardi Dix Mars", and "Mar De Copacabana". CD

An overlooked US date from 1970 – a set that Dexter Gordon recorded during a quick stop home from his time abroad – really cooking away in the Prestige studios with a great little rhythm section, in ways that are quite different than his better-known European work of the time! The title cut's a groover that definitely matches the promise of its name – a slinky soul jazz number driven along nicely by a rhythm trio that features Tommy Flanagan on piano, Larry Ridley on bass, and Alan Dawson on drums. The group keep things interesting on other cuts too – even when Gordon's dominating with the kind of inventive solo lines he was forging in Europe – and most tracks are longish, with plenty of room for action. Titles include "The Panther", "Valse Robin", "Mrs Miniver", and "The Blues Walk". CD

Perhaps THE greatest Quincy Jones album of the 60s – a hard-swinging batch of big band bossa tunes – and one of the greatest American takes on the bossa sound ever! Quincy really brings a lot of soul to the set – syncopating the bottom end of the tunes to really bring out the rhythms, and working with a jazzy flourish of horns that creates all these quick and clever little turns in the tunes! The sound's been heard most famously on the incredible track "Soul Bossa Nova" – an original by Quincy for the set, which has gone onto much greater fame through its use in the film Austin Powers, and a bazillion TV commercials! But the whole album's great too – and other tracks include "Serenata", "Lalo Bossa Nova", "Boogie Bossa Nova", and "Chega De Saudade". CD

One of the most compelling entries so far in the all-great Congotronics series – a set of highly percussive work from this unique ensemble! The Kasai All Stars is a collective of members from six other groups – all working here in Konono-like territory that's heavy on distorted rhythms from electrified thumb piano and xylophones, then topped with some great guitar lines that link the music to older African traditions – all with a sound that's completely hypnotic and downright other-worldly! There's vocals on most of the tracks, but the real appeal of the record is the instrumentation, which is totally great – a mindblowing blend of sounds that shows that there's still plenty of key musical changes taking place in the African scene. Titles include "Quick As White", "Mukuba", "Beyond The 7th Moon", "Analengo", "Mpombo Yetu", "Mbu A Matumba", and "Drowning Goat". CD

One of the greatest jazz soundtracks of all time! Johnny Mandel composed the memorable score for this late 50's film starring Susan Hayward, and the music is played by Mandel's orchestra and a smaller group led by Gerry Mulligan, which includes Art Farmer, Shelly Manne, and Bud Shank. The music was originally issued on 2 different albums – but the CD brings together both LPs worth of tracks, for a whopping 22 selections, wrapped in an overstuffed package brimming with notes and photos, and pressed on an "expanded CD" that also has Quick Time archival material! The whole thing's a jazz soundtrack lover's delight – and tracks include "Poker Game", "Stakeout", "Black Nightgown", "Death Scene", "The Last Mile", and "Gas Chamber Unveiling". CD

A searing second set from Souljazz Orchestra – easily one of the funkiest groups in the contemporary Afro Funk underground! The set's even sharper than their first – really tight on the rhythms, which are filled with skittish guitars that cut a groove strongly – vamping and quick-stepping with a wicked sort of feel that brings back plenty of James Brown influence to a 70s African sound! There's lots of great horns and keyboards too – again played with a sharpness that's wonderful – a meaningful approach to solos that's not as extended as on other records, but often much more powerful. Vocals are often shouted or called – second stage, next to the instrumentation – and titles include "State Terrorism", "Kapital", "Parasite", "Interested Benevolence", "Amen", and "Grasshopper & Toad". CD

An instrumental album from this Chicago trio that includes Jeff Parker on guitar, Tatsu Aoki on bass, and David Pavkovic on drums. At times, the sound is almost funky, with a groove that's nicely laid down by Pavkovic's drums. At others, the record's a bit more open-ended, with less of a jazz-oriented sense of playing. Parker's plays in a warm chord style that recalls some of the more soulful work by John Abercrombie in the late 60s or early 70s. Titles include "Pep", "Go Free", "Thrive", "Chicago Cool", and "Quick Pay". CD

The second album from Can – and one that the group maybe likes to think of as more of a bridge between Monster Movie and Tago Mago – tracks done for a variety of film projects, but which also still really show the quick evolution of the group at the time! Some of the work still features original singer Malcolm Mooney, and others feature the new rising star of Damo Suzuki – but what might be most striking here is the drum work of Jaki Liebezeit, who already seems to be pushing forward with that rhythmic pulse that would soon make the early 70s Can so amazing – recorded with stark brilliance and blended with edgey percussion, at a level that makes most of the tracks unlike anything else the world had ever heard before! Of course, there's still plenty of tremendous bass from Holger Czukay, guitar from Michael Karoli, and keyboards from Irmin Schmidt – all of whom sound amazing here – on titles that include "Mother Sky", "Deadlock", "Tango Whiskeyman", "Don't Turn The Lights On Leave Me Alone", "Soul Desert", and "She Brings The Rain". CD

Lovely work from Eliane Elias – and exactly the set you should turn to if you ever doubted her chops on the piano! Elias starts with a quick rendition of Bud Powell's "Hallucinations", played with a deftness that Toshiko Akiyoshi would appreciate – and the set then runs into a batch of tunes that includes some charming originals from Eliane – those fully-formed numbers that always made her a well-rounded talent right from the start! The blend of sensitivity and swing on the record is really impressive – and made even better by a set of players that includes Eddie Gomez on bass, Barry Finnerty on guitar, and Jack DeJohnette and Peter Erskine on drums. Titles include "One Side Of You", "Impulsive", "Cross Current", "Campari & Soda", and "Peggy's Blue Skylight". CD

How many different iterations of the "Four Brothers" were there? We don't know, but as near as we can tell, this grouping might most resemble the "original", with four West coast heavies joining forces for a swinging side. Originally making up the sax section of Woody Herman's Thundering Herd, Zoot Sims, Al Cohn, Herbie Steward and Serge Chaloff are the brothers, and they're joined by fellow Herman alum Buddy Jones, plus Elliot Lawrence and Don Lamond in the rhythm section on this side for Vik. As you'd expect, the numbers are all West coast gems, by the likes of Cohn, Sims, Jimmy Giuffre, Gerry Mulligan and Manny Albam amongst others, and featuring the brothers blowing in a remarkably spry manner for such a heavyweight lineup. 10 tracks in all: "Four And One More", "So Blue", "The Swinging Door", 'Four In Hand", "A Quick One", 'Four Brothers", "Ten Years Later", "The Pretty One", "Aged In Wood" and "Here We Go Again". CD

A great entry in this late 70s "Best Of The West" series produced for Japan by Lew Tabackin – a series in which Lew uncovered some of the best (then) current work on the west coast, in an unusual and creative mix of classic and under-discovered players! This session is led by alto saxophonist Dick Spencer, but also features Conte Candoli on trumpet, Cedar Walton on piano, Reggie Johnson on bass, and Billy Higgins on drums – a really well-balanced group that makes for a great depth of feeling that's hardly the west coast revival mode you might expect from the date! Spencer's tone on alto is really great – quick-footed, but also full of feeling – and Candoli's got some very nice later lines on trumpet, warmed up a bit by Cedar Walton's piano. There's a somewhat informal feel to the session – a bit boppish at times – and titles include "Invitation", "Minor March", "Lament For Sonny", "Barbados", and "Shining Hour". CD

Sexy genius from Armando Trovajoli – the undisputed master maestro of the 60s Italian comedy! Casanova 70 has a great little score that blends together jazz and lighter Italian styles – a great link between the straighter jazz modes used in early 60s films, and some of the groovier, more mod-oriented styles that were taking over the Italian scene in the later part of the decade! There's some especially nice use of electric harpsichord on the record – quick little lines that have a tinkling, shimmering feel – often set against fuller Hammond, and a warmly grooving sense of rhythm. Titles include "Blues For Casanova", "Sensual Jazz", "Casanova 70", "Striptease", "Dino's Blues", "700 Jazz", and "Rubacuori". Plus, this massive CD reissue features a total of 34 tracks – 26 of which weren't on the original album – and which make for a really fantastic package! CD

A group of players with ties to other groups on the London scene – all working here together at a level that will really blow away your expectations of a familiar trio album! On paper, the record's got a familiar feel – bass from Cameron Dawson, drums from Dougal Taylor, and keyboards from Jack Stephenson-Oliver – but the feel of the record is so much different than any sort of electrified piano trio mode, as the keyboards are often mixed with a bit of electronics and effects, the rhythms are often changed up in weird ways, and the whole sound of the set is as revolutionary as some of the other great work coming out of London in recent years. There's a definite beyond-jazz sort of vibe to the record – and titles include "40.2", "The Winter Games", "Quick Zeus", "Celestial Greens", "Dormant Daze", and "A Safe Space For Mates". CD

A huge dip into the German rock scene of the late 50s and early 60s – a time when the nation was really getting back on its feet, and setting into the same sort of crazy consumer trends that also fueled the fires of rock and roll back in the US! The music here has a really nice range – some cuts are covers of American rock tracks, but with a nice difference in the way the language is structured – others are more homegrown German varieties, and a few are by less-likely artists, jumping into the fray to show the rest of the world that the German scene can romp its rhythms with the best! We'd not heard most of these tracks before – and the whole thing is every bit as revelatory as previous volumes – with 32 tracks, by artists who include Ted Herold, Harry Gluck, Conny Quick, The Gisha Brothers, The Rattles, Billy Sanders, Peter Kraus, The Javalins, Ronny Twen & Die Playboys, Ralf Bendix, and many others! CD

A sweetly swinging seventies set from pianist Tommy Flanagan – one of those records that's a perfect balance between the bop-inspired dexterity of his work on the keyboard, and that undeniable warmth he always brought to his best recordings! Tommy's got maybe a bit more bite on the keys, especially when moving at a quicker pace – and backing is by George Mraz on bass, whose round tones emphasize the warmer elements, and Elvin Jones on drums – who may well be part of the reason for the bite! The set features a number of bop classic tunes – like "Oleo", "Confirmation", and "Relaxin At Camarillo" – plus the great title cut "Eclypso", and a moody reading of Tom McIntosh's excellent "The Cup Bearers". CD

Rare unreleased live material from Dexter Gordon's best years – a 1967 performance that was recorded by Danish Radio at the Cafe Montmartre – the Copenhagen base where Gordon had set up camp overseas, and was very quickly hitting a whole new level of his music! That level is heard here very strongly – on the kind of long tracks that show what a superbly imaginative soloist he'd become – with help from Kenny Drew on piano, Bo Steif on bass, and Art Taylor on drums. All tracks are very long, with that totally solid, totally tight, totally confident solo style that became Gordon's stock-in-trade during these years – and titles include "The Squirrel", "Cheese Cake", "Sonnymoon For Two", and "You've Changed". CD

Fantastic unreleased work from one of the greatest trumpeters on the European scene from the late 50s onward – and one of the few players who could match the depth and soul of American jazzmen on the instrument! Dusko Goykovich has given us so much great music over the years – in small groups as a leader, in unusual projects as a sideman, and even as a soloist in bigger bands – and here, we capture the trumpet giant at the earliest stage of his career – on some beautiful German radio studio recordings from the end of the 50s and start of the 60s – tight, soulful, boppish material with a slight modern edge – recorded on all tracks with Derek Humble on alto, Karl Drevo (Drewo) on tenor, Franciso Coppieters on piano, and Jonny Fischer on bass. Some tracks feature Kenny Clarke on drums, the rest feature Stuff Combe on the kit – and titles include "Mile Dave", "Omricon", "Perhaps", "Quicksilver", "Solar", "Les Copains", "Salud To Birdland", and "On Green Dolphin Street". CD

The second album by Inner Life, and the group's first for Salsoul – an instant club classic, thanks to some supremely soulful vocals by Jocelyn Brown, and excellent arrangements by Greg Carmichael and Patrick Adams! The album starts out with the slow-building track "It's You", but then moves quickly into uptempo club territory – letting Brown really open up on tracks that include the amazing remake of "Ain't No Mountain High Enough", plus "Pay Girl", "Live it Up", "Make It Last Forever", and the classic "(Knock Out) Let's Go Another Round"! CD features long bonus tracks too – including "Make It Last Forever (unreleased Larry Levan rmx)", "Let's Go Another Round (orig Tee Scott 12" mix)", "Ain't No Mountain High Enough (orig Larry Levan The Garage 12")", and the unreleased track "Let's Get This Thing Together". CD

Solo piano album – titles include "Coming Home On The Hudson", "Wig Wise", and "Jackie-ing", plus the originals "Ca'lina", "The Spins", "Quickening", and "Air". CD

A set of free improvised duets that are so fierce, they've been kept from the public for decades – finally seeing the light of day in this long-overdue package! Percussionist/electronicist Paul Lytton is a player known to many, and known for his always-incredible ear for sonic intensity – yet we've maybe never heard him this intense before, working alongside guitarist Erhard Hirt, a player with an approach to his instrument that's unlike anyone else in the free jazz universe at the time! Hirt often plays with a great sense of noise – not as bombastically as Sonny Sharrock, or as rock-influenced as some of the others – but almost as if he's using his electric guitar as the gateway to some darker universe, opening a passage that Lytton dives in to follow very quickly with some especially great electronics. Even the percussion has this electrified spark – and titles include "Orbod", "The Sensitive Stickler", "Don't Wait Too Long", "Deder", "Clip", and "175". CD

Ever-adventurous composer, arranger and coronet player Rob Mazurek teams up with similarly creative wanderer Emmett Kelly (Cairo Gang, Josh Abrams Natural Information Society and more)! Alien Flower Sutra finds the duo and their guest players crafting a pretty awesome mix of interstellar psych-jazz-folk with vocals and guitar – with lots of fuzzier, jazzier instrumental passages. Very cool stuff on International Anthem, which has quickly become one of Chicago's best indie labels for free thinking creative output! Mazurek handles the electronic treatments, synths and coronet, with Kelly's lyrics, voice and guitars, and accompanied by Guilherme Granado, Carlos Issam Thomas Rohrer and Brittany Mazurek. Includes "Back To The Ocean, Back To The Sea", "Android Love Cry", "Blackout", "Bright Nights Havoc", "I Untied My Wrists", "Of Time Wasted", "Remember Nothing", "Embryo Genesis", "We Are One" and "Overture Towards The Beginning Of The End Of Time". CD

A huge amount of work from The Merseybeats – a group who were Liverpool contemporaries of The Beatles, and named after the body of water alongside the city – but who were way more than a copycat combo overall! Like many other 60s British groups, The Merseybeats start out with a sound that draws heavily from American soul and blues influences – yet they quickly shift to a super-catchy, jingle-jangle sort of sound – harmonizing nicely on the leads, and finding ways to come up with really groovy songs that that use their hollow-body guitar lines to best effect – setting things apart with that special British sound that made the UK scene quickly so different than the US by this time. And although the group have had a few greatest hits packages over the years, this 2CD set is the first time they've fully gotten their due – as the package is overflowing with material – 34 tracks by the core group, and another 29 by the later Merseys and other related musical aggregations – including The Crackers, Kinsleys, Johnny Gustafson, and The Quotations. That's a whopping 63 tracks in all, served up with a big set of notes – almost acting like a microcosm of the Liverpool scene itself! CD

That's Antonio Neves wielding a trombone on the cover – but the set's got elements that move way past his great work on that horn – drawn from very collaborative contributions from different members of the contemporary scene in Rio! The record's got a jazz basis at the core, but quickly explodes into a real style-shifting approach – that legacy of easily mixing modes that has been the hallmark of some of the most creative work from Brazil in recent decades – guided perfectly here by Neves on drums as well as trombone! Antonio sings on one track, and the record also features vocals at points from Leda, Alice Caymmi, Ana Frango Eletrico, and Marcos Esgulera – amidst a whole host of guest musicians too, including Edu Neves on flute, Leo Gandelman on alto, and Hamilton De Holanda on mandolin. Titles include "Lamento De Um Perplexo", "Forte Apache", "Simba", "A Pegada Agora E Essa", "Noite De Temporal", and "Jongo No Feudo". CD

The very first album from Pacific Gas & Electric – the hard-wailing west coast group who later recorded more famously for Columbia Records, but who are completely on fire here! The set was done for the Bright Orange subsidiary of Kent Records – that LA imprint who did such a great job with blues, soul, and R&B in the 50s and 60s – and who really let the group here stay close to their blues inspirations, while also letting their freak flag fly with some very cool Cali elements too! As with so many of the other groups of their time who maybe started out in blues, PG&E are quickly moving into territory that's all their own – taking off with psychedelic elements and strongly soulful touches – served up with some great lead guitar work from Glenn Schwartz, some heavy fuzz bass by Brent Block, and raw vocals from Charlie Allen. Tracks include a great remake of the Bobby Blue Bland Tune "Cry Cry Cry" – plus"Wade In The Water", "The Motor City Is Burning", "The Hunger", "Long Handled Shovel", "Jelly Jelly", "Stormy Times", and "Live Love". CD

Ivo Perelman's got a mighty great group here – a quartet with Matthew Shipp on piano, Mark Helias on bass, and Tom Rainey on drums – all of whom really set fire to the music! Ivo's still got that sense of careful tones and textures that you'll know from other records – but at times, things really take off with some bolder, quicker, freer passages that really make for a great contrast – like the whole band's been shaken up like a can of soda, then cracked open with a really bold sort of sonic spray! The balance between careful contemplation and full-on frenzy is great – and titles include "Entrainment", "Life Force", "Water Music", "Fluidity", "Flow", and "Boundless". CD

One of those obscure funk records that was even pretty darn obscure back in the day – at a time when so many other funk records weren't so obscure! But obscurity aside, the record also quickly grew into the stuff of legend – thanks to a groove that's totally great, and which has all this chugging guitar over popping basslines that really set up the groove – topped with vocals from Ray Alexander that easily move between sweet and raw, and which give the whole thing an earnest, honest sound that's quite different than the bigger mainstream soul of 1973! The whole thing's great – and features two versions, one instrumental one vocal, of the great "Let's Talk" – plus loads more great cuts that include "Taking The Long Way Home", "I'm In Love With You", "My World", "My Special One", and "Wiser & Deeper". CD features a number of bonus tracks – all rare mixes and takes of tunes from the album! CD

It's hard to overstate the influence of Max Roach and Clifford Brown on the west coast scene of the 50s – as the two players helped draw out the bop sound of LA that was quickly getting lost in the cool jazz shuffle of the time, and gave it a strength and focus that not only made the group one of the strongest of the time, but which also sparked new life and a hardbop generation on the LA scene! This classic set of live recordings was one of the first great Brown/Roach moments – recorded during 2 different concerts by Gene Norman Presents, and featuring some great tenor work by LA giants Teddy Edwards and Harold Land, plus some piano by the amazing "sideways" player Carl Perkins, as well as Bud Powell's brother Richie – a key factor of the group's studio recordings on Mercury, and a player who would perish in the same accident that took the life of Clifford Brown. This CD features the full versions of most of the tracks that have been highly edited on the GNP albums over the years – including "Clifford's Axe", "Sunset Eyes", "Jordu", "I Can't Get Started", "Parisian Thoroughfare", and "Tenderly". A few edits persist in a few parts, as the unedited tapes appear to be lost – but many of the tracks are in nice longish versions! CD

If worktime was like this for us, you'd catch us showing up on the job early every day – but sadly, nothing at our office can match the brilliance of early Sonny Rollins here – a sharp-edged genius that perfectly illustrates why he was one of the greatest players on his horn for many decades running! There's a depth of tone on the record that rivals Coleman Hawkins or Lester Young – but a quickness of pace and imagination that shows a clear influence from Charlie Parker, and a deftness that few were bringing to the tenor at the time. The rhythm section here is super tight – and features Ray Bryant on piano, George Morrow on bass, and Max Roach on drums – all supporting Rollins' bold lead with lines that bristle with electricity, but still often fall back to let the sound of the tenor envelop the whole group. Tracks are longish, and titles include "Raincheck", "There Are Such Things", "Paradox", and "It's All Right With Me". CD

A wild little record – one that was issued under the name of Flying Dutchman label headman Bob Thiele – but which actually features work from some of the grooviest artists on the label at the time – including Tom Scott, Ornette Coleman, Jon Appleton, John Carter, Horace Tapscott, and Bobby Bradford! The package has a very different feel on each of the album's four sides – and side one is a tremendous showcase for the young reedman Tom Scott – working here in a cool mix of electric and acoustic instrumentation that's similar to his other records of the time – including organ, vibes, and some nice funky touches as well. Side two features an exploration of the history of jazz – but one that progresses quickly from early modes to hipper ones – showcasing the talents of John Carter on tenor, Bobby Bradford on trumpet, and Horace Tapscott on piano! Side three is a mighty dedication to the late John Coltrane – played at first by a trio with Joe Farrell on flute, Wilbur Ware on bass, and Elvin Jones on drums – then moving into a mix of Farrell's flute and narration by Rosko – then a performance by the Ornette Coleman quartet. And side four is especially mindblowing, as it's comprised of lone long piece by Jon Appleton's Syntonic Menagerie – a mix of sound samples, tape tricks, and jazz – as a commentary on The American Indian, JFK, and Martin Luther King. The whole thing's a great illustration of the Flying Dutchman label at its most revolutionary – and titles include "Head Start", "Freaky Zeke", "Lanoola Goes Limp", "Swing Era", "In The Vineyard/Avant Garde", "Love Supreme", "Lament For John Coltrane", and "A Few Thoughts For The Day". CD also features a rare bonus track – "The Flying Dutchman". CD

The bottom is certainly "up" on this one – as the Three Sounds groove things from the ground up, taking soul jazz piano to the next level with an approach that quickly made them one of the most popular Blue Note acts of the early 60s! Gene Harris leads the group on piano – and also plays celeste on one track (!) – and the other Sounds at this point are Andrew Simpkins on bass and Bill Dowdy on drums – a really great rhythm section that have a way of being soulfully quiet, with a very subtle groove – one that's much more understated than you might find in the Ramsey Lewis trio, but equally hip. Tracks include "Jinne Lou", "Besame Mucho", "Love Walked In", "Angel Eyes", "Falling In Love With Love", and "Time After Time". CD

One of Bobby Timmons' most obscure trio sessions from the early years – recorded at the tail end of the Riverside years, which is probably why the album disappeared so quickly! The set's in a similar format to some of Bobby's other records for Riverside – a trio set with either Sam Jones or Ron Carter on bass, and Connie Kay on drums – but it's different in that Bobby's a bit more introspective – "blue", if you will – working in less of the gutbucket soul jazz mode than before, and really hitting some lyrical magic on the keys! The album includes the original tunes "Know Not One", "Often Annie", and "The Sit In" – plus a great reading of Tom McIntosh's "Malice Towards None". CD

Two early classics from drummer Tony Williams – back to back on a single CD! First up is Life Time – a record that represents the pinnacle of Blue Note's "new thing" era! This amazing album was led by drummer Tony Williams (then just a wee lad, playing with Miles Davis, in his legendary 60s quintet) – but it's more of a "roundtable" session that features equal contributions by some of Blue Note's best avant garde players from the time, all of them young firey geniuses like Williams. The configurations of the players change drastically from track to track – and some feature Sam Rivers, Richard Davis, and Gary Peacock playing in a 2-bass and tenor lineup with Williams; others feature Bobby Hutcherson and Herbie Hancock playing heavily percussive vibes and piano solos next to Williams' assorted percussion playing; and one track doesn't even feature Williams at all, but has Herbie Hancock and Ron Carter in a beautifully moody bass and piano duet! The record is a treasure – and it's a landmark recording that's probably one of the greatest that Blue Note (or any other label) released during the 60s! Titles include "Barb's Song to The Wizard", "Memory", and "Two Pieces Of One: Red & Green". Spring is another gem – cut for Blue Note, back when he was just hitting the age of 20, and when he was already blowing the minds of masters like Jackie McLean (who first hired him) and Miles Davis (who stole him from Jackie for his own group!) with an approach to drumming that was freed from usual time constraints. Williams conception was so unique, other young modernists – like the album's Wayne Shorter and Sam Rivers on tenor, Herbie Hancock on piano, and Gary Peacock on bass – quickly benefited from his presence, as you'll hear in this amazing session that sounds very little like any other Blue Note release. Williams wrote all of the tracks, but the style is much freer than any sense of composition might imply – and the group is shaken up differently from track to track. Titles include "From Before", "Echo", and "Extras". CD

Startling! This album is one of two that a young Tony Williams cut for Blue Note, back when he was just hitting the age of 20, and when he was already blowing the minds of masters like Jackie McLean (who first hired him) and Miles Davis (who stole him from Jackie for his own group!) with an approach to drumming that was freed from usual time constraints. Williams conception was so unique, other young modernists – like the album's Wayne Shorter and Sam Rivers on tenor, Herbie Hancock on piano, and Gary Peacock on bass – quickly benefited from his presence, as you'll hear in this amazing session that sounds very little like any other Blue Note release. Williams wrote all of the tracks, but the style is much freer than any sense of composition might imply – and the group is shaken up differently from track to track. Titles include "From Before", "Echo", and "Extras". CD

Surprisingly firey work from pianist Claude Williamson – arguably the better of his albums for Bethlehem, and a real cooker that shows a tremendous command of the keys! Claude's working here with a tight trio that includes Don Prell on bass and Chuck Flores on drums – often leading out the tunes on his own with a bold introduction, then quickly getting some strong support on rhythm. Williamson may well be strongly inspired by Flores' free-flowing energy and ability to melodically create on percussion – as Chuck's presence on the session is nice and strong – never too bold, and always in the pocket! Titles include "I'll Remember April", "June Bug", "Jersey Bounce", "Blue Notoriety", "Have You Met Miss Jones", and "Embraceable You". CD

A great live cooker from Phil Woods – long tracks with those excellent solos he could carve out in the 80s – served up in a quartet with Hal Galper on piano, Steve Gilmore on bass, and Bill Goodwin on drums! CD

One of the most unique soul records you'll ever own – a tremendous little set from the mighty Milton Wright! Milton's probably best known for his first album, Friends & Buddies, but this set is arguably even greater – an even more personal, unusual session that blends wonderfully written songs, heartfelt vocals, and some really offbeat production techniques! There's a bit of an acoustic vibe to the set at times – guitar gently grooving alongside Milton's vocals – but the set also has a jazzy tinge too, with hip inflections amidst the arrangements that created a really sophisticated pattern of sounds for the record. Things start somewhat mellow, but quickly get grooving – bringing in bits of keyboards and more electric guitar to warm things up, and hitting a sublime style that's unlike anything else we can think of. Wright's vocals often have a spaced out feel that's in keeping with the album, but the album's hardly laidback – and has a great sense of focus throughout. Titles include "Be With Me", "She Can Have Anything She Wants", "Dance Have Fun", "Magic Music", "You Like To Dance", "Let's Take A Break", "All I Know Is That I Have You", and "Leave Me Alone". CD

The full length debut of the Yancey Boys – Frank Nitt & Illa J – the former of the venerable duo Frank N Dank, the latter J Dilla's rhyme centric younger brother – who come together with the dual purpose of keeping J Dilla's production pedigree alive, and to simply deliver timeless, top notch Detroit hip hop! Production is provided by J Dilla's archive – and a pretty impressive roster of Dilla friends and collaborators take part as guests – include Common, Talib Kweli, Posdnuos of De La Soul, Dank, Rhettmatic, Eric Roberson, Guilty Simpson, J Roc and others. Titles include "Dilltro" with Dank, "Fisherman" feat Vice, J Rocc & Detroit Serious, "Flowers" with Kweli, Niko Grey & Rhettmatic, "Without Wings", "Beautiful" with Posdnuos, "Quicksand" with Slimkid3 & Niko Gray", "The Throwaway", "This Evening" and more. CD

A stunning array of rare soul from the Atlanta scene of the 70s – almost all of which appears here for the first time ever! The tracks were recorded for the great but short-lived family of labels that included GRC, Aware, and Hotlanta – but were never issued in the label back in the day, in part because of its need to close down quickly – no reflection at all on the quality of music, as the cuts here are superb throughout! Many of the numbers have that unique blend of Chicago talents and Atlanta roots that made the labels' recordings so unique – especially on this set, which is very heavy on mellower deep soul numbers that really transform the southern modes of years before, and push them into territory that's much more like laidback mellow soul from the east coast scene! The package has very detailed notes on all the cuts, and speculations on the cuts and their recording and release histories too – in a smoking set list that features 24 titles that include "Paper Man" by Alpaca Phase III, "Con Me" by Miss Louistine, "Love Making" by Jean Battle, "Keep On Walking" by The Steppers, "Is There Someone Else" by Deep Velvet, "When Will I Stop Loving You" by Lorraine Johnson, "Fight Fire With Fire" by King Hannibal, "I Need Me Some More Of You" by Dee Ervin, "My Peaceful Forest" by Dee Clark, "There'll Always Be Forever" by Lomita Johnson, "Loneliness Hurts Just A Little Bit" by Joe Graham, "Talk's Cheap" by The Surprise Sisters, and "Sure Could Do With Some You" by Shirlean Fant. CD

One of the most unique country collections we've ever heard – in part because the artists aren't from Nashville, nor Bakersfield, and instead hail from the British scene of the 60s! The tunes here are all country-styled numbers – and some are country music classics – but they get very unique delivery here by UK groups who've soaked up all the best Brit Invasion modes of the period – all to make for a presentation that's very different than you might expect! We normally associate beat groups of the time with a strong influence from R&B, but these cuts uncover a surprising country influence too – as you'll hear on a whopping 30 tracks from artists who include Sonny Webb & The Cascades, Nashville Teens, Jerry Williams & The Violents, Lee Curtis & The All-stars, The In-Crowd, Bobby Patrick Big Six, The Hollies, Billy Thorpe & The Aztecs, King Size Taylor & The Dominoes, Tommy Quickly & The Remo Four, Tony Sheridan, and many others. CD

Heavy kraut, indeed – as the set features a stunning array of hard rock acts from the German scene at the start of the 70s – very different music than some of the dreamier space rock or spare electronics you might also know from the time! These are all bands who really know how to turn things up to "11" – and come up with that rawness that was first unleased by UK power trios at the end of the 70s – groups who often found a surprisingly big audience in Germany, where bands quickly served up their own brand of post-psych freak and fuzz! You'll know a few of these groups from global fame back in the day, but many others are more obscure – and the 2CD set features tracks that include "If" by Frame, "Crazy Woman" by Night Sun, "Smile" by Message, "Fly Little Jeannie" by New Lords, "Stay" by Toad, "Der Hund Von Baskerville" by Cindy & Bert, "You've Got To Follow This Masquerade" by Hairy Chapter, "Spread Your Wings" by Black Mass, and "Pandemonium" by Birth Control. CD

A legendary live set from the 60s all-stars of Stax Records – a performance in London in the late 60s, as the label follows Motown's lead on taking its big names overseas! The lineup is legendary, and most of the tunes are familiar by the artists, but get nice fresh versions here – sometimes a bit quicker, and sometimes a bit rougher – both of which makes a nice change from the iconic classics. Titles include "Green Onions" by Booker T & The MGs, "Philly Dog" by The Mark-Keys, "Knock On Wood" and "If I Had A Hammer" by Eddie Floyd, "Hold On I'm Comin" and "I Take What I Want" by Sam & Dave, "Shake" by Otis Redding, and "Yesterday" by Carla Thomas. CD

A stunning tribute to the music of Jorge Ben – a host of classic covers from the 60s and 70s, all of which share Jorge's love for an upbeat, soulful groove! The set's exploding with life and energy – that new sort of groove that Ben first unleashed on Brazilian music in the 60s, which was quickly taken up by most of his contemporaries – as you'll hear on the wonderful tunes in this set! There's a ridiculous amount of music on the collection – over two dozen tunes, a number of which we'd never heard before – and although Jorge doesn't sing on any of them, the vocalists are all clearly inspired by his sense of warmth and soul. Every cut's a groover – and titles include "Quem Mandou" by Osmar Milito, "Zazueira" by Wilson Simonal, "Pulo Pulo" by Elza Soares, "Se Voce Quiser Mas Sem Bronquear" by Doris Monteiro, "Tenha Fe Pois Amanha Um Lindo Dia Vai Nascer" and "La Vem Salgueiro" by Os Originais Do Samba, "Carolina Carol Bela" by Os Brazoes, "Speed" by Sonia Santos, "Rei Do Maracatu" by Cyro Aguiar, "Cosa Nostra" by Os Mutreteiros Grilados, "Fio Maravilha" by Marijo, "Pais Tropical" by Wilson Simonal, and "Mas Que Nada" by Elza Soares. CD

An incredible addition to the rich legacy of Stax Records – a massive collection of 146 tracks, almost all of which appear here for the first time ever – a set that represents recordings done by all the great songwriters who were working for Stax at the time, most of whom were also recording artists on the label! Given that fact, these aren't scratchy recordings performed by hacks who can't sing – as almost all the material features the sort of top-shelf vocalists who made Stax such a deep soul powerhouse in the 60s and 70s – represented here in a style that shows just how much freedom of creative expression the label allowed its best – very different than the way some of the bigger companies would just cram a song down a quickly-booked session in the studio! Plus, these demo tracks are done in a variety of modes – some with very stripped-down instrumentation, some with fuller groups – and together, they offer a key look at the creative process at Stax – one that's very different than the iconic sound of productions in their Memphis studio, and which really shows an even deeper range of expression through the variety of approaches. The 7CD set has a really cool approach – CDs 1, 2, and 3 feature demos by Stax artists singing their own material; CD4 features Stax singer/songwriters working on non-Stax material; and CDs 5, 6, and 7 feature songs by these artists that were never issued at the time! The set includes work by The Staple Singers, William Bell, Carla Thomas, Bettye Crutcher, Homer Banks, Eddie Floyd, Veda Brown, Frederick Knight, Mack Rice, Delaney Bramlett, Jimmy Hughes, and many others – and the package features 146 tracks in all, with copious notes on the material! CD

A period score, but one with plenty of groovy touches – a masterpiece of 60s film scoring from the great John Addison! Addison's music for the famous Tony Richardson version of Tom Jones is every bit as playful as the images on the screen – with only marginal aesthetics of the period of the story, and instead lots of romping melodies, carried out on horn parts, percussive passages, and even some cool harpsichord bits. Most of the tunes move quite quickly – as does the action on screen – and titles include "Sylvan Misadventures", "Ladies Are Irresistible", "Love Theme From Tom Jones", "Wine & Women", "If He Swing By The String", and "The Squire Steps In". CD features 34 tracks in all – the full original album, plus lots more music from the film! CD

A wonderfully hard-storming set – and a record that not only firmly put the Jazz Messengers on the map, but also set a whole new standard for live jazz recording! The group here is the early version of the Messengers – almost co-led by drummer Art Blakey with pianist Horace Silver – and featuring Clifford Brown on trumpet, just a few months before his early death – plus Lou Donaldson on alto and Curley Russell on bass. The presence of alto instead of tenor makes the sound slightly different than later incarnations of the group – and the overall approach is one that virtually defines the shift from straight bop to hardbop in the 50s – a mode that both Blakey and Silver were key in creating. Tracks include "Split Kick", "Quicksilver", "Mayreh", and "A Night In Tunisia". CD features 2 bonus tracks, and great remastering! CD

One of those records that really takes you by surprise – a set that doesn't look like much on the front, but which opens up immediately the minute you drop it on the turntable – with a sense of soul and swing that really hold on throughout! The group's a great one – a quintet with Jimmy Heath on tenor, Slide Hampton on trombone, Kenny Barron on piano, Ron Carter on bass, and Art Taylor on drums – all seasoned players working together here on a set of Tadd Dameron tunes, but inflected with a nice early 80s sense of soul – almost a more relaxed Muse Records vibe that really makes the album way more than just another reading of Dameron's classics. Titles include "Lady Bird", "Squirrel", "The Scene Is Clean", "Sid's Delight", and "Nearness". CD

A fitting title for a great album – Eric Dolphy's last live recording, performed on June 2, 1964, with a trio of youngsters that included two of the greatest names in European avant garde jazz – Misha Mengelberg and Han Bennink! The sound is jagged and a bit free – showing the way towards even greater innovations that might have marked Dolphy's 60s years, had he not been taken from us so quickly! The album's filled with beautiful Dolphy playing in his late mode – on alto, flute, and bass clarinet – and tracks include "The Madrig Speaks, The Panther Walks", "Miss Ann", and "Hypochristmutreefuz". CD

A fitting title for a great album – Eric Dolphy's last live recording, performed on June 2, 1964, with a trio of youngsters that included two of the greatest names in European avant garde jazz – Misha Mengelberg and Han Bennink! The sound is jagged and a bit free – showing the way towards even greater innovations that might have marked Dolphy's 60s years, had he not been taken from us so quickly! The album's filled with beautiful Dolphy playing in his late mode – on alto, flute, and bass clarinet – and tracks include "The Madrig Speaks, The Panther Walks", "Miss Ann", and "Hypochristmutreefuz". CD