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A great session by this excellent Chicago quartet – originally recorded in 1996, but unissued until 2000. The record is one of the most lyrical sets to come out of the Chicago underground in the past few years – and it offers a excellent chance to see a straighter side of the group's players, like Kent Kessler, Jim Baker, and Ken Vandermark. Vandermark is especially compelling here – and plays in a mode that should prove to any doubters that he's just as great on the inside as he is on the out. Titles include "No Go", "Tableau Shot", "Telleferro", "Chump Change", and "Non-Confirmation". CD

A rare larger group session that Gerry recorded in the early 70s for A&M – done in a style that's smoothly soaring, and a wonderful 70s extrapolation of his talents on baritone sax. Players include Bud Shank, Harry Edison, Roger Kellaway, Howard Roberts, and Emil Richards – and titles include "One To Ten In Ohio", "Maytag", "Golden Notebooks", "Country Beaver", "Grand Tour", and "Over The Hill & Out To The Woods". CD

A later set from Archie Shepp and a real lost gem – quite different from his earlier works, especially the better known late 60s sessions – and a surprisingly nice album that runs through some truly excellent longer takes – filled with warmth and tenderness you wouldn't expect! Steam was recorded in early 1976, in a stripped down setting, with Cameron Brown on bass and Beaver Harris on drums. The group wonderfully rolls through Ellington's "Solitude", Shepp's "Steam", and the epic "A Message From Trane", a tremendous number written by the great Cal Massey – and Shepp plays both tenor and piano on the record. CD reissue includes bonus tracks not on the original album – "Ah Leu Cha" and "52nd Street Theme". CD

Features Monty on piano, Ray Brown on bass, and Frank Gant on drums! CD

A later set from Archie Shepp and a real lost gem – quite different from his earlier works, especially the better known late 60s sessions – and a surprisingly nice album that runs through some truly excellent longer takes – filled with warmth and tenderness you wouldn't expect! Steam was recorded in early 1976, in a stripped down setting, with Cameron Brown on bass and Beaver Harris on drums. The group wonderfully rolls through Ellington's "Solitude", Shepp's "Steam", and the epic "A Message From Trane", a tremendous number written by the great Cal Massey – and Shepp plays both tenor and piano on the record. The CD reissue includes bonus tracks not on the original album – "Ah Leu Cha" and "52nd Street Theme". CD

Some of Kenny's best recordings – especially from the early days! The albums contained on this 2CD set feature Kenny in the company of some of the best late 50's players at Blue Note. Junior Cook and Tina Brooks are on tenor, Duke Jordan or Bobby Timmons play piano, Louis Smith plays trumpet on some tracks, Sam Jones is on bass, and Art Blakey is on drums throughout. The cuts have a very open-ended blowing session feel, and Kenny comes through surprisingly well, really picking up steam on a way you don't always hear in more restrained recordings. The 2-in-1 combo is a nice idea, too – and it gives you all 9 long tracks from these two rare albums, including "Rock Salt", "Chuckin", "Scotch Blues", and "Phinupi". CD

The greatness of Gregory Porter continues to grow and grow – as the vocalist keeps moving past the straighter jazz of his roots, into a role as one of the greatest soul singers of the 21st Century! Porter's got a depth and maturity that few folks have had in recent years – especially in the realm of male vocals – very much that manner of important 70s singers like Bill Withers, Billy Paul, or Al Jarreau – who were schooled in jazz, but worked more in soulful styles that gave them a wider reach, and helped them to find a very personal voice in the process! We'd easily place Gregory in that legacy – one that he's definitely earned by this point – and he sounds arguably even better here than on his debut for Blue Note – working with arrangements from co-producer Kamau Kenyatta, who mixes in just the right current of jazz to keep things on track with the energy we first loved in Porter's first records – while still really letting his new energy open up and soar. Titles include "Holding On", "Insanity", "Don't Lose Your Steam", "Daydream", "Don't Be A Fool", "More Than A Woman", and "French African Queen". Also features different versions of two songs, with guest appearances – "Holding On" with Kem, and "Insanity" with Lalah Hathaway. CD

A classic of spiritual, soulful jazz – and one of Archie Shepp's greatest albums! The set was recorded in New York after a few free and festive years in Paris, and it's an amazing about-face that has Archie stepping into a world of righteous, full-on, political, and funky themes – the likes of which are far more outspoken than any of his previous recordings. The group on the set is quite a large one – hip New York underground players, a small string ensemble, and even a few singers – like soul diva Joshie Armstead and vocalist Joe Lee Wilson. Overall, the sound's somewhere in the same place as the Art Ensemble of Chicago's amazing Les Stances A Sophie – in that the record comes from a free jazz tradition, but moves into a more rhythmic focus in order to communicate its message. The added vocals and recitations are wonderful – very moving, and much less hippy-dippy than on other Shepp records of the time – and the whole thing holds together with a unique sound and substance that's made it a treasure that holds up again and again. A true gem, and one we'll never part with! Tracks include "Quiet Dawn", "Goodbye Sweet Pops", "Steam (parts 1 & 2)", "Attica Blues", "Blues For Brother George Jackson", and "Ballad For A Child". CD

Attica Blues, and beyond – a great late 70s performance that has Archie Shepp turning the clock back towards that famous album – but also making some very new grooves with a richly expanded lineup! The double-length set was recorded in Paris, in front of a very lively crowd – and it's honestly one of Shepp's most dynamic records from the time – definitely inspired by all the freedom he'd had in the French scene for the previous decade – yet also brought together with a great sense of focus too. The lineup is excellent – with vocals from Joe Lee Wilson and Irene Datcher – trumpets from Malachi Thompson, Charles McGhee, and Roy Burrowes; trombones from Charles Greenlee, Dick Griffin, and Steve Turre; reeds from Marion Brown, James Ware, and Marvin Blackman; plus piano from Art Matthews, some added strings, great percussion, and piano, tenor, and soprano sax from Shepp himself! Ray Copeland directs the group – giving it the hip focus of his few key recordings like this – and titles include "Star Love", "Moon Bees", "Attica Blues" (in two parts), "Steam", "Quiet Dawn", "Hi Fly", "U-Jaama", "Ballad For A Child", "Simone", "Crucificado", :A Change Has Come Over Me", "Goodbye Sweet Pops", and "Skippin'". CD

An overlooked gem in the career of tenorist Archie Shepp – one of those fantastically soulful European recordings that sometimes get missed, given that Shepp was recording so much and in so many ways overseas during these later years! The style here is a wonderful distillation of the modes he was exploring in his post-Impulse years – a small group rendition of the spiritual ideas of that earlier moment, but refined with more of a focus on Shepp's tremendous tone on tenor – even more maturely expressive here than before, at a level that makes us really love this period more and more as the years go on! The group features Horace Parlan on piano, Clifford Jarvis on drums, and Harry Emmery on bass – the last of whom does a wonderful job of filling the space left empty by Wilbur Little, with round tones that echo the soulfulness of Archie's tenor, and really live up to the tribute promised in the title. Tunes include a really wonderful reading of "Steam" – plus "Arrival", "Manhattan", and "Reflexions". CD

An overlooked gem in the career of tenorist Archie Shepp – one of those fantastically soulful European recordings that sometimes get missed, given that Shepp was recording so much and in so many ways overseas during these later years! The style here is a wonderful distillation of the modes he was exploring in his post-Impulse years – a small group rendition of the spiritual ideas of that earlier moment, but refined with more of a focus on Shepp's tremendous tone on tenor – even more maturely expressive here than before, at a level that makes us really love this period more and more as the years go on! The group features Horace Parlan on piano, Clifford Jarvis on drums, and Harry Emmery on bass – the last of whom does a wonderful job of filling the space left empty by Wilbur Little, with round tones that echo the soulfulness of Archie's tenor, and really live up to the tribute promised in the title. Tunes include a really wonderful reading of "Steam" – plus "Arrival", "Manhattan", and "Reflexions". CD

Sonic Youth's last album from Geffen – capping off one of the most successful runs an art rock band could ever have hoped to make on a major label! Back to the Moore-Gordon-Renaldo-Shelley line-up after a stellar couple of albums with Jim O'Rourke in the band, you could be forgiven for thinking you'll sense his loss going in – but the truth is this is just as strong as Murray Street and Sonic Nurse, right on par with those late carreer classics and a fitting finally to an exceptial period for the band. Essential! Includes "Reena", "Incinerate", "Do You Believe In Rapture?", "What A Waste", "Free", "Rats", "Steam", "Or'" and more. CD

A great little set that really looks at the wide range of sounds handled by Miami's TK Records powerhouse in the 70s – a label that's famous for its big disco hits, but which also had a lot more to offer, too! There's definitely some clubby cuts on the collection, but most of those are nicely past the TK hits of the time – and interspersed here with other numbers that shows the label's great commitment to deep soul, where they were flying the flag strongly after labels like Atlantic or Stax had dropped the ball. There's also some surprisingly smooth, sophisticated cuts – showing the modern soul shift the label was making – and which no doubt would have suited them very strongly into the 80s, had they kept up their 70s steam. Titles include "Secret Lover" by Paulette Reeves, "Ebony Affair" by Timmy Thomas, "That's What I Get" by Beginning Of The End, "Fly" by The Stylistics, "What Do We Do About Our Love" by Leon Debouse, "Can't Do Without You" by Eddie Horan, "Somebody's Gettin It" by Ted Taylor, "That Woman" by Wilson Pickett, "Tonight Is The Night" by Betty Wright, "Put Pride Aside" by Latimore, "People Fall In Love" by Foxy, and "Tired Of Hiding" by Jackie Moore. CD

Ella Fitzgerald sings Broadway – but in a way that makes the tunes completely her own! Marty Paich turns in some great jazzy arrangements for the set – and the tunes are far more swinging than the usual showtunes you might expect – stripped of all their stage-bound drama, and retooled by Paich as these tight little vehicles for Ella's amazing vocals! The album's arguably more expressive than even some of Fitzgerald's previous songbook sessions – even though most work comes from the same American stage mode – titles that include "Hernando's Hideaway", "I Could Have Danced All Night", "Whatever Lola Wants", "Guys and Dolls", "If I Were A Bell", "No Other Love", and "Steam Heat". CD

Three girls and a guy – and one of the greatest 60s soul groups to ever come out of Philly! Although they started out mostly in a girl group mode, The Orlons soon expanded their sound into a harder range of soul-based work – really picking up steam on the Philly scene, and pushing their once sweet style into a deeper groove that went onto have a big influence on lots of other local soul groups for years to come. Rosetta Hightower's lead vocals are especially great on these tunes, and she's got a rougher, rumbling sort of quality that almost pushes some tracks into Exciters territory. CD does a great job of presenting the material with notes on each track – and titles include "Wah Watusi", "Spinning Tog", "Mr Twenty One", "South Street", "Crossfire", "Not Me", "The Conservative", "Don't Hang Up", "Everything Nice", "Shimmy Shimmy", "Rules Of Love", and "Envy". CD

Duets between pianist Siegfried Kessler and Archie Shepp on saxophone and vocals. Tracks include "Le Matin des Noirs", "Lush Life", "Steam", and "Ujaama". CD

Some of Kenny Burrell's best early work! The album catches Kenny in the perfect Blue Note jam session mode of the late 50s – which features a number of the label's star players hitting hard with the main soloist. Players on the two volume set include Duke Jordan or Bobby Timmons piano, Junior Cook and Tina Brooks tenor, Louis Smith trumpet, and Art Blakey on Drums. The cuts have a very open-ended blowing session feel, and Kenny comes through surprisingly well, really picking up steam on a way you don't always hear in more restrained recordings. Titles on this volume include "Rock Salt", "Chuckin", and "Caravan". CD

A hip mix of raunchy blues and rootsy rock – all stretched out over a double-length set that's easily one of John Lee Hooker's loosest albums ever! The album has Hooker playing in a number of settings with hip rock and funk players from the California scene – including Steve Miller, Mel Brown, Clifford Coulter, and others – but in spite of the presence of a few younger stars on the record, the album's still very much Hooker's own – down-home and earthy, with plenty of the rawness and heavy mojo that set Hooker apart from the bar blues artists of his time! Titles include "Doin The Shout", "I Don't Need No Steam Heat", "Pots On, Gas High", "We Might As Well Call It Through", and "Kick Hit 4 Hit Kix U". CD

A wonderful live date from David Murray – recorded in late 70s Paris, but with all the fire of his best work from the US! The group is an extremely hip one – Murray's tenor matched with Butch Morris on cornet, Johnny Dyani on bass, and George Brown on drums – all players that can open up and get a bit free, yet never lose their groove – kind of that perfect balance that made Murray such a standout in the loft jazz years of the New York scene. Even at this point, Murray's got a very open approach to his work that makes him stand out from other players of the era – at one minute going full steam and free, at another laying back and getting a bit more soulful, and another playing in a choppier, more rhythmic style. Titles include "The Fast Life", "Monikole", "Let The Music Take You", and "The Hill". CD

The title's maybe a bit misleading – as most folks think of day-glo as a color associated with some of the most throwaway culture of the 80s – but the brightness of the hue definitely marks the big explosion in styles during the key British year of 1978 – a time when the punk revolution of 1977 opened the door for a big range of modes to follow! It might be said that the post-punk years came immediately after the initial days of punk – and they definitely begin here, as hard and fast modes are mixed with more unusual styles that include mod revival moments, electronic experiments, and even some offbeat pop – expressions of humor, anger, and a shifting political landscape – served up as an amazing document of the creative intensity of the time! As with other Cherry Red boxes, the overall package is great – a huge amount of notes to support the 79 tracks within – a diverse array of music from Blue Steam, The Others, UK Subs, The Jam, Monochrome Set, Wreckless Eric, Spizzoil, Public Image Ltd, 999, The Stranglers, Japan, The Only Ones, Magazine, Alternative TV, Slush, Time Machine, Eater, The Bozos, Tyla Gang, Ed Banger, No Sweat, The VIPs, John Cooper Clarke, Scritti Politti, Penetration, Stiff Little Fingers, Alberto Y Los Trios Paranoias, Teardrops, Coventry Automatics, Menace, Bleach Boys, Jilted John, Zones, Electric Chairs, and many more! CD

A massive live set from Cannonball Adderley – and a record that really shows the growth he'd undergone in just a few short years! The album's done in close collaboration with David Axelrod – who'd handled Cannon's big live dates for Capitol in the 60s – but this record is much more freewheeling, open-ended, fuzz, funky, and electric overall! Tracks are all nice and long, and really trip out in the best way – with keyboards from George Duke in the core group, plus some heavy basslines from Walter Booker, drums from Roy McCurdy, and guitar from Mike Deasy on a number of key tracks. Deasy plays with lots of great wah wah and fuzz – and the album also features guest work from Airto on percussion and Ernie Watts on tenor – plus Cannonball's great alto and the cornet of brother Nat Adderley too. There's a really collaborative feel to the whole thing – as the record steps easily between a lot of heady styles – and titles include "Zanek", "Eye Of The Cosmos", "The Scene", "The Chocolate Nuisance", "The Steam Drill", "Little Benny Hen", and "The Black Messiah". CD

An obscure reissue that collects some of the best work by James Brown soul sister Vicki Anderson – a heck of a great vocalist, and right up there with Lyn Collins and Marva Whitney for sheer raw soul power! Vicki's work was actually some of the funkiest and most righteous to come out of the James Brown camp at the end of the 60s – and the tracks on this set really show her working at full steam – and includes some all-out groovers that have had a long life in recent years, thanks to a strong sample history. Titles include "Message From The Soul Sisters", "I'll Work It Out", "Sound Funky", "In The Land Of Milk & Honey", "You're Welcome Stop On By", "Super Good", and "Answer To Mother Popcorn". CD also follows with 10 more tracks from Lyn Collins – super-heavy soul with a strong funky undercurrent – mostly material issued on People Records with backings by the JBs! Titles include "Rock Me Again & Again & Again", "You Can't Love Me If You Don't Respect Me", "Think", "Mama Feelgood", "We Want To Party Party Party", "Take Me Just As I Am", and "Mr Big Stuff". CD

Near-perfect work from Ashford & Simpson – really grooving in full powerhouse mode here, and never missing a beat! By all rights, the team should have run out of steam by this point, but the album's another winner from their sublime Warner years – caught in a unique space between chart soul, ensemble funk, and disco – taking all the best elements of each, and really sending the whole thing home with some incredible vocals and impeccable production and arrangements! Titles include "Rushing To", "Love Don't Make It Right", "We'll Meet Again", "Get Out Your Handkerchief", and "I Ain't Asking For Your Love". CD

The title may be a bit strangely put – as "Steamer" isn't a word that we'd necessarily think to use with the gently flowing tenor tone of Stan Getz – but that doesn't stop the album from being a great one, and perhaps in Getz-like terms, it might well have a bit more steam than usual! The album features Getz in a quartet with a nicely flowing groove – nicely vamping piano from Lou Levy in the background on most numbers, and a definite edge in the lead tenor solos – still blown with the warmth of earlier Getz recordings, but perhaps showing some of the modern flourishes to come. Bass is by Leroy Vinnegar and drums are by Stan Levey – and titles include "Blues For Mary Jane", "There'll Never Be Another You", and "You're Blase". The CD includes a complete alternate take of "How About You?", and incomplete and false start takes "There Will Never Be Another You", "You're Blase", "Like Someone In Love", and "How About You?". CD

Sublimely spiritual work from trombonist Charles Greenlee – a player who's best remembered for work as a sideman with Archie Shepp, but who really sparkles as a leader on this rare Japanese set! The vibe here is totally great – a righteous approach to soul jazz that rivals the best work of the Strata East scene in the US, but which is carried off with the poise and power of some of the best mid 70s Japanese-only dates of this type – clearly a great deal of respect and freedom given to Greenlee in the studio, but also some good help in putting together the record in as solid a way as possible. Jean Carn makes a great appearance singing on 3 tracks here – with a quality that's even more righteous than her work with Doug Carn on Black Jazz – and one more number features the great Joe Lee Wilson on vocals too. Players include Hubert Eaves and Art Matthews on piano, Charles Sullivan on trumpet, Archie Shepp on tenor and soprano, Buster Williams on bass, and either Charlie Persip or Beaver Harris on drums – and titles include "I Know About The Life", "He's Gone", "Steam", "Someday", "Crusificado", and "Miss Barbara". CD

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Just about as essential as it gets – RVG Editions of Cookin', Relaxin', Workin', and Steamin' – all in one nice set! CD

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An early pairing of Miles Davis & John Coltrane – one of the duo's mid 50s classics for Prestige, as you might guess from the verb in the title! And although "Steamin" might be a word that's a bit too firey to describe the action going on here, the album's got a tremendous sense of presence throughout – as Davis' cooler trumpet is matched with Trane's earthier solo work – all supported by Red Garland trio backing in a style that's as near-classic as it comes for 50s jazz. Titles include "Diane", "Something I Dreamed Last Night", "When I Fall In Love", and "Salt Peanuts". CD

An early pairing of Miles Davis & John Coltrane – one of the duo's mid 50s classics for Prestige, as you might guess from the verb in the title! And although "Steamin" might be a word that's a bit too firey to describe the action going on here, the album's got a tremendous sense of presence throughout – as Davis' cooler trumpet is matched with Trane's earthier solo work – all supported by Red Garland trio backing in a style that's as near-classic as it comes for 50s jazz. Titles include "Diane", "Something I Dreamed Last Night", "When I Fall In Love", and "Salt Peanuts". CD

An early pairing of Miles Davis & John Coltrane – one of the duo's mid 50s classics for Prestige, as you might guess from the verb in the title! And although "Steamin" might be a word that's a bit too firey to describe the action going on here, the album's got a tremendous sense of presence throughout – as Davis' cooler trumpet is matched with Trane's earthier solo work – all supported by Red Garland trio backing in a style that's as near-classic as it comes for 50s jazz. Titles include "Diane", "Something I Dreamed Last Night", "When I Fall In Love", and "Salt Peanuts". CD

An early pairing of Miles Davis & John Coltrane – one of the duo's mid 50s classics for Prestige, as you might guess from the verb in the title! And although "Steamin" might be a word that's a bit too firey to describe the action going on here, the album's got a tremendous sense of presence throughout – as Davis' cooler trumpet is matched with Trane's earthier solo work – all supported by Red Garland trio backing in a style that's as near-classic as it comes for 50s jazz. Titles include "Diane", "Something I Dreamed Last Night", "When I Fall In Love", and "Salt Peanuts". CD

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A beautiful overview of some of the most legendary material in the catalog of both Miles Davis and John Coltrane – quintet collaborations for Prestige Records from the late 50s, presented here with all master and alternate takes, plus a full bonus CD of unreleased material! The original tracks were issued on a groundbreaking run of albums that include the classics Cookin, Relaxin, Steamin, and Workin With The Miles Davis Quintet – all with Davis on trumpet, Coltrane on tenor, and rhythm from the trio of Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums. But in addition to the 32 tracks of studio material from the group – presented on the first 3 CDs in the set – the package also features 8 more live numbers, recorded for the Tonight Show in 1955, and live at the Blue Note in Philly in 1956 and at Cafe Bohemia in 1958! Original studio tunes include "Stablemates", "The Theme", "How Am I To Know", "Four", "Salt Peanuts", "Woody'n You", "Ahmad's Blues", "Well You Needn't", "Half Nelson", "Oleo", "Tune Up", and "Blues By Five". Unreleased live tunes include "Tune Up", "Walkin", "Max Is Making Wax", "Four", "Bye Bye Blackbird", and "Two Bass Hit". Added bonuses include 5 solo transcriptions, a 40 page booklet, and original cover art by Miles! CD

A nice little bit of bop from LA – a tightly-crafted mid 50s date for the Bethlehem label – featuring drummer Stan Levey at the head of a great group of horn players! The album features some standout work from Dexter Gordon on tenor – making a rare appearance here as a sideman – and the frontline of the sextet also features Conte Candoli on trumpet and Frank Rosolino on trombone – both well-matched players, especially at this point in their careers. The group's completed by Leroy Vinnegar on bass and Lou Levy on piano – and there's a bit more bite on some tracks than the usual Bethlehem set. Titles include "Diggin For Diz", "Ruby My Dear", "Tune Up", "Stanley The Steamer", and "This Time The Drum's On Me". CD

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A brilliant late album from British tenor giant Tubby Hayes – one of his last true studio sessions, and a free-thinking album by a quartet that included Mike Pyne on piano, Ron Matthewson on bass, and Tony Levin on drums. Hayes' tenor talents are as strong as ever – imaginative and firey and with a tone that most other British players never reached – but he's also picking up some late 60s elements of freedom, and playing with his style a bit, in kind of an edgey way that creates more tension than usual for a set by Tubbs. The tracks are long and very creative original compositions – and the album's a true masterpiece that shows the wealth of talent bubbling on the UK jazz scene during the mid to late 60s. Titles include "Trenton Place", "Blues In Orbit", "Mexican Green", "Dedication To Joy", and "The Second City Steamer". CD

After Hours jamming the way it should be – recorded in a very relaxed, open-ended setting! The album's a classic Prestige Records jam session from the late 50s – one that features Kenny Burrell on guitar, Thad Jones on trumpet, Frank Wess on tenor and flute, Mal Waldron on piano, Paul Chambers on bass, and Art Taylor on drums – all players who've got a great ear for material for this, and who really make the session their own when they get a chance! Though Burrell's name got top billing on subsequent issues of this album, and his playing is wonderful, Waldron's the great unsung hero of these sessions, as his playing's consistently remarkable, providing great accompaniment for the horn players. Four numbers: "Steamin", "Count One", "Empty Street", and "Blue Jelly". CD

A stunning European live set from the legendary Dexter Gordon – one that was recorded early in his overseas tenure, and which is noteworthy for two reasons – first in that it was recorded in Utrecht, not the more familiar setting of Copenhagen – and second, in that it features a really smoking Dutch combo – musicians that Dex didn't always work with! The rhythm trio is stunning – the soulful Rob Madna on piano, with Ruud Jacobs on bass and Cees See on drums – players who really give the songs a different sensibility than some of the other groups that Dexter Gordon would use in Europe – and Gordon seems to respond with maybe even more sense of strength in his solo work too. The recording quality is excellent – done by Dutch jazz radio in the 60s – and the set features long takes on "Stanley The Steamer", "Dexter's Deck", "In The Cave", "Body & Soul", "Yesterdays", and "I Wanna Blow Now" – plus a few spoken introductions by Dex, who even calls out the groove on the final track. CD

Earl Hines has a very cool trio here – a unique group that features Richard Davis on bass and Elvin Jones on drums – both younger modern players who provide a surprising match for his lead work on piano! Hines really seems to step up to the setting, and although his phrasing and tone echo his older years in jazz, there's also a fresh crackle to the record too – one that may also partly come from the way in which Earl was really being rediscovered and re-exposed at the time of the album's recording. Davis and Jones definitely never try to overdo things, but you can definitely feel their presence at work – particularly Jones, whose percussion on the record is a real delight. Titles include "Stanley Steamer", "Shoe Shine Boy", "Smoke Rings", "Save It Pretty Mama", and "Bernie's Tune". CD

A brilliant return from the Hot 8 Brass Band – a New Orleans combo who take tradition into some great funky new territory! As you'd guess from their name, the instrumentation is heavy on brass – played with a gritty, soulful edge – in the way you'd find during some street performance in a corner far from the mainstream Quarter – sometimes accompanied by ensemble vocals, and almost always driven by these great rhythms at the bottom – more than funky enough to set even the heaviest horns on fire with their energy. Titles include "Bingo Bango", "Fine Tuner", "Steamin Blues", "Can't Hide From The Truth", "New Orleans (After The City)", and a nice remake of The Specials' "Ghost Town". CD

An extremely eclectic selection of groovers – with that spiritual jazzy vibe that you'd expect from the London scene, and from the crates of the legendary Russ Dewbury. The compilation has a similar feel to the Freedom Time set – with a batch of tracks that move beyond the usual heavy funk numbers to include some excellent jazz vocal numbers, and some other more complicated tracks that have a sweet fusiony sound. Just about all the tracks on here are super-obscure, and you won't find them easily on original vinyl – nor in such a set as lovingly put together as this one! Titles include "Morning Spring" by Copeland Davis, "Afro Beat" by Jazz Techniques, "Let The Sunshine In" by Sons & Daughters Of Life", "If You Can Live With Yourself" by Dale Dennard, "Gang Progress" by Andre Ceccarelli, "Partido Alto" by Airto & Flora, "Pretty Bird" by Terea, "No Other Love But You" by Clarice Labbe, "Gemstones" by Jack Wilson, "Morning" by Lorez Alexandria, and "Frozen Tundra Lady" by Steamheat. Loads more, and packed with rare tracks! CD

2 rare slices of exotica by Les Baxter – back to back on one CD! The first half of the set features material from the album Ports Of Pleasure – a dreamy exploration of south sea ideals that's got a more lightly drifting quality than some of Baxter's more percussive exotica albums, and which is awash in dreamy soundscapes penned by Les himself! The orchestrations are large and bold throughout – mixing strings and woodwinds almost in a soundtrack-y mode – but always with the light sense of interplay that makes Baxter's work so great. Titles include "Monkey Dance Of Bali", "Pearls Of Ceylon", "Tahiti A Summer Night At Sea", "Hong Kong Cable Car", "Tramp Steamer To Singapore", "Harem Silks From Bombay", and "Sidewalk Cafes Of Saigon". The Sacred Idol is a real standout set from the end of Les Baxter's run at Capitol Records – originally scored for a film that was never released, but a great set of tracks that more than stands strongly on its own! The theme here is a Mexican/Latin American one – explored by Baxter with his trademark blend of larger orchestrations and lighter exotica touches – often swirling around in an extremely evocative mode that makes us wish the film had been issued to the public, and at a few key moments even hinting at the funkier modes that would follow on some of Les' later work for other labels. Titles include "Aqueducts", "Gardens Of The Moon", "Pyramid Of The Sun", "Temple Of Gold", and "Procession Of The Princes". CD

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