Makaya McCraven pushes his unique jazz genius even further – by serving up a completely groundbreaking remix of live jazz performance on the London scene! McCraven's already stood out from the pack in the way that he breaks down jazz norms by playing with a recorded performance later in the studio – but this time around, he really pushes that approach to the forefront – working in a mode that really lives up to the "mixtape" of the title – but which also still has everything that we love from his other records too! Makaya's on drums – and plays with a massively heavy groove – and he plays here with some of the leading lights of the contemporary London scene – Soweto Kinch and Nubya Garcia on saxes, Joe Armon Jones on Fender Rhodes, Kamaal Williams on keyboards, and Theon Cross on tuba – in amazing performance activity which is then brought home to Chicago, where the music gets additional remix and overdub help from LeFto, Don Leisure, Earl Jeffers, Ben LaMar Gay, Emma Jean Thackray, Quiet Dawn, and Lexus Blondin. Clearly, Makaya's one hell of a collaborative spirit – yet he also manages to make this record his boldest personal statement to date – as you'll hear on titles that include "Halls", "Suite For Artis Gilmore", "Ox Tales", "The Bounce", "Oracle", "Run Dem", "Too Shy", and "Drums & Bruk & Feel The Vibe". LP, Vinyl record album

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

Key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. CD

Key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. LP, Vinyl record album

A long-overdue document of the artistic activity of Roscoe Mitchell – best known to most as a key member of both the AACM and Art Ensemble Of Chicago as a jazz musician, but a surprisingly accomplished painter too! Mitchell's artistic career is captured here in both distant chapters – his early work in the 60s, including a few famous paintings that ended up on album covers – and his more recent burst of visually creative activity in the past fifteen years, presented here in a stunning array of very vibrant images! The painting on the cover is just the tip of the iceberg – as the book features dozens of other artworks, in an edition that's 138 pages in length – complete with an interview with Mitchell on his creative activity too. Book

Janelle Monae took a bit of a rest between this album and her last – but given the results, it feels like she's really recharged her groove in that surprisingly long stretch! Not that Janelle needed recharging at all – but there's something here that sets the record apart from earlier chapters in her career – and not in a commercial way, or something that feels like a sidestep – maybe just a bit like Sade after the first few records – able to space out her creative activity, and always keep us wanting more! There's maybe a more down to earth approach here than before – but at a level that makes the whole thing feel more heavenly overall – and Monae works with guests who include Sister Nancy, Seun Kuti, and Grace Jones – on titles that include "The Rush", "The French 75", "Float", "Black Sugar Beach", "Phenomenal", "Ooh La La", "Lipstick Lover", "Paid In Pleasure", "A Dry Red", and "Only Have Eyes 42". CD

A fantastic volume put together by bassist William Parker, and one that shows his larger connection to cultural activity in general – as it features Parker interviewing four key artists, most of whom are represented here in ways that go far beyond music! The subjects within include trombonist Steve Swell, saxophonist Alan Glover, writer/painter Christopher Collins, and artist Jalalu Kalvert Nelsen – each of whom is interviewed in a very insightful way by Parker, in sections that also feature some of their non-musical creative work. The book features poetry from both Swell and Collins, both of whom are represented by visual artworks – as are Nelsen and Glover. Book features a mix of color and black and white images throughout! Book

70s issue of this masterpiece of psychedelic pop – a set that really captures that key shift from R&B-influenced sounds to much headier territory on the UK scene! Spooky Tooth came to this debut with a fair bit of previous activity in other groups – and there's a core energy here that still holds onto the soul-influenced grooves of the mod scene – which makes for some romping cuts that are almost freakbeat tunes, but which are twisted nicely with some fuzzier production and longer-haired expressions! The vocals have a nice undercurrent of soul – unabashedly powerful, but years before such a style would sound cliche – and the drums, bass, and guitar leap into the fray with equally wonderful energy. The approach is a bit like Procol Harum at the start, but more individual – and titles include "Too Much Of Nothing", "Society's Child", "Bubbles", "Forget It I Got It", "It Hurts You So", "Sunshine Help Me", and "Love Really Changed Me". LP, Vinyl record album

Prog rock was shifting a bit as 1974 came into view, but the leading lights of the scene were still going strong – sometimes with new modes and slight shifts in production techniques that showed that the music was evolving very strongly, and not just content to mire in the modes of an initial wave of activity! If anything, most of the cats on this set are even sharper musicians and more daring songwriters than a few years before – which means that sometimes, there's an even more focused approach to the music – a bold message that can come across strongly, without a full side album jam – and with production elements that don't oversaturate as much, which almost seems to indicate that the prog scene of the moment were having some thoughts about musical shifts to come! As with the other titles in this series, the box features a superb set list – really well-chosen cuts that go past the obvious – accompanied by a very hefty set of notes on each act and the tunes within. 4CD set features 51 tracks in all – work from Caravan, Hawkwind, Gong, PFM, Sensational Alex Harvey Band, Peter Hammill, Neutrons, Nektar, Hatfield & The North, Traffic, Gravy Train, Darryl Way's Wolf, Procol Harum, Jethro Tull, Stackridge, Greenslade, Strawbs, Kevin Ayers, Jack Bruce, and others! CD

Rare work from one of the most obscure sides of the Studio One catalog – dub recordings that were issued in small press runs, usually with handmade covers, and which barely saw circulation outside of Jamaica at all! This is Studio one at its most experimental – following the new wave of creative activity on the Kingston scene in the 70s, and letting the Dub Specialist access older tracks from the Studio One catalog, break them down, and build up these spare dub tracks that really live up to the "space age" promise of the title! The whole thing is almost more of a Dub Specialist album overall, save for the fact that the core of the tracks is from material by a host of other artists – on titles that include "Tricky", "Disco Dub", "Still Water Version", "Marcus Dub", "Accra", "A Lie Gal A Tell", "Pick Up", "Red Neck", "Wailing Sounds", "Barb Wire Version", and "Juk's Inc". LP, Vinyl record album

One of the coolest, moogiest records we've ever heard from Mort Garson – and that's saying a lot, given that the man gave us the Wozzard Of Iz and a host of moog-based astrological records too! The album's billed as "mood music especially composed to aid the growing of your plants" – and while we doubt that claim, it's more than groovy enough without any herbaceous activity at hand – these cool keyboard lines that are often sweetly tuneful, but nicely tripped-out too – played by one of the best cats to really grab hold of the moog right at the start of its great musical run! Titles include "A Mellow Mood For Maidenhair", "You Don't Have To Walk A Begonia", "Concerto For Philodendron & Pothos", "Ode To An African Violet", and "Plantasia". LP, Vinyl record album

The sonic intensity of saxophonist Mats Gustafsson gets a perfect foil here in the electronics of Joachim Norwall – a musician who really helps Gustafsson to reach some of the most powerful sounds we've heard from his horns in years! Mats can have a way of blowing his instruments as if they're almost modular electronics – not in a cold sort of approach, but one that works the reeds and pads with a pulsating sort of energy – waves of sonic activity shifting in pace, as he creates this incredible magic on baritone sax, slide saxophone, bass saxophone, alto fluteophone, and flute – while Norwall delivers work on analogue electronics in a range of different styles. Sometimes the electronics are more in the background of the saxophone improvisations, sometimes more actively upfront – and titles on the set include "There Are Some Worlds Where All Dreams Die", "Their New Life Was Their Final Life", "Birdbrain", "His Fingers Moving In The Air Produced A Soft Organ Like Music", "Here Eyes Were Like Cold Fires", and "The Day Of Days Was There". CD

Life-changing music from Pierre Henry – one of the key French electronic music composers of the 20th Century – and an artist who went on to have a big impact in the 21st Century as well! This set mixes together key Henry compositions with nine never-released works – all remastered by Henry in his own famous studio – where he took up most of his later-life creative activity, after an initial association with the famous RTF Studio in Paris! The sounds here are incredible – truly an illustration of the genius of the man who once said "it is necessary to destroy music" – a thesis that Pierre expounds on more fully in the notes within. The package features a total of 29 works in all, presented on 12 CDs with a big booklet of notes – and works include "Chroniques Terriennes" (2016), "Etudes Transcendantes Pour Un Piano Imaginaire" (2015), "Grande Toccata" (2006), "Gymkhana" (1970), "Pleins Jeux" (2008), "Kyldex" (1973), "Une Tour De Babel" (1988), "La Reine Verte", "Rock Electronique" (1963), "Histoire Naturelle" (1997), "Facies" (1960), "Le Livre Des Morts Egyptien" (1988), "Fragments Pour Artaud" (1970), "La Noire A Soixante" (1961), "Deuxieme Symphonie" (1972), "Spatiodynamisme" (1953), and "Concerto Des Ambiguites" (1950). CD

An incredibly lovely record from Kraftwerk – fashioned along the same suite-like style as Radio Activity, and served up with some haunting and charming tunes throughout! The electronics are quite spare, yet very thoughtful – never a note out of place, as the quartet build their careful efforts together to create a tapestry of surprisingly warm sounds – using just a bit of vocals in really great ways, and almost prefacing a whole generation of UK and Euro pop to come – yet without any of their schmaltz! Titles include "Europe Endless", "Hall of Mirrors", "Abzung", "Franz Schubert", and "Showroom Dummies" – not to mention the awesome title track and electro break number "Metal On Metal". CD

One of the all-time classic funk records from the 70s – a set that grabs you with the very first note, and lets you know that you've really stumbled onto something groovy! South Side Movement have a sinister groove that's very much their own – not like James Brown, The Meters, or just about anyone else – cooked up on the south side of Chicago at a time when the city was a real hotbed of creative activity in all sorts of different ways – and served up with the sort of sophistication that often marked some of the best Windy City groups of the time! Jimmy Van Leer produced, and the whole thing's got a mix of sophisticated instrumentation and straightforward funk that's wonderful – heard to great effect on the classic leadoff track "I Been Watching You" – and followed by so many other great gems that include "Mud Wind", "Superstition", "Can You Get To That", "La Dee Da", and "You're Gonna Lose My Love". LP, Vinyl record album

Here's a book that will blow your mind – and your ears as well – a richly detailed look at the way that sound has been used as a weapon – both as a direct force of sonic power, and as a more subtle means of disturbing space and human activity! The writer is as direct as the title, which is great – because the book is a no-punches-pulled look at the way that sound can really be used to screw things up – with a look at certain frequencies, tones, and modes of employment – some done in secret, others more overt – by those who seek to turn one of our key senses against us. The book is a well-crafted blend of history, science, and theory – with notes on the contents – and this hardcover version is 197 pages in length. Book

Rare work from one of the most obscure sides of the Studio One catalog – dub recordings that were issued in small press runs, usually with handmade covers, and which barely saw circulation outside of Jamaica at all! This is Studio one at its most experimental – following the new wave of creative activity on the Kingston scene in the 70s, and letting the Dub Specialist access older tracks from the Studio One catalog, break them down, and build up these spare dub tracks that really live up to the "space age" promise of the title! The whole thing is almost more of a Dub Specialist album overall, save for the fact that the core of the tracks is from material by a host of other artists – on titles that include "Tricky", "Disco Dub", "Still Water Version", "Marcus Dub", "Accra", "A Lie Gal A Tell", "Pick Up", "Red Neck", "Wailing Sounds", "Barb Wire Version", and "Juk's Inc". CD

A really well-done document of a pretty amazing time in the Chicago music scene – a huge early 90s burst of creative activity – one that gave the world a handful of famous groups, and a much bigger number of even better acts who really made the city great! Writer Bruce Adams issued some of the music on his label Kranky – but the book here goes way past that imprint, and instead presents a really vivid portrait of the scene at large – clubs, labels, bands, writers, and all the other forces that helped really make Chicago great back then – a city that was bubbling over with new energy right at the same time we started Dusty Groove on the south side. Adams definitely has plenty of his own opinions throughout, but those are also balanced with his insider perspective – which comes forth with a well-balanced explanation of so many intricacies, at a level that's so different than the usual sort of book of this nature, especially from the coasts. And if you're worried that the book is too rock-heavy, don't – because players in the scene here also include Dusty Groove stalwarts like Ken Vandermark, Fred Anderson, and Joshua Abrams. Hardcover edition is 288 pages. Book

The music scene in Williamsburg, Brooklyn, is one that's had an undeniable impact on cultural activity in recent decades – yet it's also one of those scenes that initially happened without most folks taking place – that is, it was a real artist and musician's scene, and not the kind that was easily open to outsiders until many years later! In this really well-done book, Cisco Bradley (who also gave us a great volume on William Parker) digs deep into the earliest days of the Williamsburg scene – that late 80s moment when Manhattan and other spots had become too expensive for the truly creative – and the other side of the East River emerged as a great place to move, live, and continue to make music. Bradley really gets at the criss-crossing elements of the scene at the time – and follows it well into the 21st Century, to a time when the changing real estate market in Brooklyn, and subsequent zoning changes, started to give Williamsburg the same creative fate as Soho, the East Village, and other important New York scenes in previous decades. Different initial chapters look at key spaces as forces – warehouses and lofts, clubs and galleries, and even pirate radio – and later chapters look at the larger forces causing change in the 21st Century. A really hefty book, as well-researched as it is well-written – 388 pages, softcover, with some black and white images. Book

Two classic early albums from San Francisco pianist Dave Brubeck! Jazz at Oberlin was famously recorded at the mid-Ohio college and haven of bohemiana, and a growing hotbed of jazz activity centered around students in the college's conservatory of music at the time of the recording! Dave and crew made the trip at the request of the kids – breaking from their mostly San Francisco-based recording career to cut what would end up becoming a very successful album in Dave's catalog, and begin a whole "at" or "goes to" series in his career – followed up at many other locations. The group's the early quartet with Paul Desmond on alto, Ron Crotty on bass, and Lloyd Davis on drums – and tunes include long and jamming versions of "The Way You Look Tonight", "How High The Moon", and "Stardust". College Of The Pacific is another great live set from the Dave Brubeck Quartet – already humming along nicely with some great alto sax from Paul Desmond! The group's in fine form here – a bit more relaxed and open than on their Columbia recordings – with plenty of creative piano lines from Dave, showing just a slight dose of modernism, and lots more of that cool, icy alto sax work that made Desmond a standout right from the start. Rhythm is by Ron Crotty on bass and Joe Dodge on drums – and titles include "Laura", "Lullaby In Rhythm", "For All We Know", "All The Things You Are", and "I'll Never Smile Again". CD

A record that's as trippy as its cover – crisp modern jazz at the core, but served up in ways that often have the waves of sonic activity flowing nicely in all these criss-crossing directions – which makes for a sound that's surprisingly dense, but never too dark or murky at all! The core group features Sam Shalabi on guitar, Morgan Moore on basses, Liam O'Neill on drums, and Devin Brahja Waldman on alto, keyboards, and piano – the latter of whom has a style that shifts up throughout the performance, really keeping things interesting in terms of the palette of sounds! The alto lines are especially nice, and carve some deeply soulful lines on the set – and on one track, Janice Lowe joins the group on flute and voice, and on another, Ala Dehghan joins on voice. Titles include "Jitters", "Care", "Medicine Woman Meets Father Sky", "Apollo-gy", and "Nooo". LP, Vinyl record album

A really fierce blend of avant jazz and post-punk energy – served up here by a group that effortlessly mix complicated reed lines with more driving drums and electric bass – all peppered with vocal contributions from singer Sofia Jernberg! Mats Gustafsson is one of the key forces here – playing flutes, baritone, and live electronics – and really reminding us that his ear for sonic activity is boundless, and open to interactions in just about any sphere – no surprise, given his other records – but still emphasized very strongly with the freshness of this album! Other group members include Borge Fjordheim on drums, Anders Hana on baritone and bass guitars, and Kjetil Moster on clarinet, tenor, and electronics. Titles include "Snow", "Wasted Blame", "Smokey Black", "Whose Face", "Winter Doesn't End", and "Black Vivaldi Sonata". LP, Vinyl record album

A totally cool book – one that offers up full-size reproductions of the eleven different newspapers published by the legendary Fluxus art group in the 60s and the 70s! If you know Fluxus, you know that they're not just artists, but tricksters as well – a group dedicated to causing slight disruptions in the public sphere through their creative activity – in ways that are sometimes subtle or whimsical, but which have a larger challenge to power behind them. That's definitely the case here with their newspapers – sporadic publications that sometimes take on the look of a more conventional paper, sometimes have a more artistic approach – and which take the format to offer unique takes on culture and society, but in the inventive approaches of the artists. Between them, the issues feature work by over 60 artists – including La Monte Young, Joseph Beuys, Christo, Alice Hutchins, Nam June Paik, George Maciunas, Gyorgy Ligeti, Yoko Ono, and others – all serve up here on oversized black and white pages, but in a much more durable format than the original papers. Book

One of the coolest, moogiest records we've ever heard from Mort Garson – and that's saying a lot, given that the man gave us the Wozzard Of Iz and a host of moog-based astrological records too! The album's billed as "mood music especially composed to aid the growing of your plants" – and while we doubt that claim, it's more than groovy enough without any herbaceous activity at hand – these cool keyboard lines that are often sweetly tuneful, but nicely tripped-out too – played by one of the best cats to really grab hold of the moog right at the start of its great musical run! Titles include "A Mellow Mood For Maidenhair", "You Don't Have To Walk A Begonia", "Concerto For Philodendron & Pothos", "Ode To An African Violet", and "Plantasia". CD

It's taken us a bit longer than expected to get this second installment in Maxwell's Black Summers' Night series – but it's been well worth the wait, given the greater depth in the music! All that we love about Maxwell's previous records is alive and well here – but there's also kind of a sharper edge to the sound, too – these fuller bottom currents that almost seem to be adding a second sort of instrumental commentary, alongside the lyrical activity up top – all while the whole thing is wrapped together with that warm keyboard flow that first made Maxwell stand out so many years back! There's almost this double edge to the whole thing – rough with the smooth, or turmoil under peace – which gives the whole thing a lot more power than this sort of record from some of Maxwell's contemporaries. Score another win for the mighty one – on tracks that include "The Fall", "Lake By The Ocean", "Lost", "Gods", "Fingers Crossed", "Hostage", "1990x", and "All The Ways Love Can Feel". CD

Makaya McCraven pushes his unique jazz genius even further – by serving up a completely groundbreaking remix of live jazz performance on the London scene! McCraven's already stood out from the pack in the way that he breaks down jazz norms by playing with a recorded performance later in the studio – but this time around, he really pushes that approach to the forefront – working in a mode that really lives up to the "mixtape" of the title – but which also still has everything that we love from his other records too! Makaya's on drums – and plays with a massively heavy groove – and he plays here with some of the leading lights of the contemporary London scene – Soweto Kinch and Nubya Garcia on saxes, Joe Armon Jones on Fender Rhodes, Kamaal Williams on keyboards, and Theon Cross on tuba – in amazing performance activity which is then brought home to Chicago, where the music gets additional remix and overdub help from LeFto, Don Leisure, Earl Jeffers, Ben LaMar Gay, Emma Jean Thackray, Quiet Dawn, and Lexus Blondin. Clearly, Makaya's one hell of a collaborative spirit – yet he also manages to make this record his boldest personal statement to date – as you'll hear on titles that include "Halls", "Suite For Artis Gilmore", "Ox Tales", "The Bounce", "Oracle", "Run Dem", "Too Shy", and "Drums & Bruk & Feel The Vibe". CD

Makaya McCraven pushes his unique jazz genius even further – by serving up a completely groundbreaking remix of live jazz performance on the London scene! McCraven's already stood out from the pack in the way that he breaks down jazz norms by playing with a recorded performance later in the studio – but this time around, he really pushes that approach to the forefront – working in a mode that really lives up to the "mixtape" of the title – but which also still has everything that we love from his other records too! Makaya's on drums – and plays with a massively heavy groove – and he plays here with some of the leading lights of the contemporary London scene – Soweto Kinch and Nubya Garcia on saxes, Joe Armon Jones on Fender Rhodes, Kamaal Williams on keyboards, and Theon Cross on tuba – in amazing performance activity which is then brought home to Chicago, where the music gets additional remix and overdub help from LeFto, Don Leisure, Earl Jeffers, Ben LaMar Gay, Emma Jean Thackray, Quiet Dawn, and Lexus Blondin. Clearly, Makaya's one hell of a collaborative spirit – yet he also manages to make this record his boldest personal statement to date – as you'll hear on titles that include "Halls", "Suite For Artis Gilmore", "Ox Tales", "The Bounce", "Oracle", "Run Dem", "Too Shy", and "Drums & Bruk & Feel The Vibe". CD

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

Key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this first volume include "Sue's Changes", "Devil Blues", and "Duke Ellington's Sound Of Love". CD

A wonderful bit of spiritual soul jazz from a barely-recorded saxophonist – one known for a rare debut album on Blue Note! This sweet little record was recorded out of the same energy that produced Larry Young's Lawrence of Newark LP for Perception Records, and it's a strange session by Tyrone Washington – a young player from the Newark scene who'd previously cut a straighter album for Blue Note, but who was working here in kind of a messed-up grab bag of styles that fit well with the stoned-out approach of the Perception label. Hubert Eaves plays piano, Stafford James plays bass, Clifford Barconadhi is on drums, and the album's a mix of funk, modal jazz grooving, and a bit of outside activity. In a way, the album's earnestness reminds us of some of Roland Kirk's work from the same time – except that Tyrone's backing group is incredible, with a tight rhythmic sound that gets funky at just the right moments. Titles include "War Is Not For Men", "1980", "Submission", and "Spiritual Light Of The Universe". CD

Way more than just a random jazz compilation – and instead a set that comes with a hefty book about the Boston jazz underground in the 70s – almost 80 pages in length, complete with images of records, vintage photos, and lots of notes on this under-documented scene! And while Boston's always been something of a hotbed of jazz activity – thanks to the younger students who hit the city to study at Berklee and other schools – this material represents a much deeper, more spiritual current of jazz – work that's in the same territory of the AACM or loft jazz scenes of the period, but also with a current of freewheeling electric material too! At this price, the whole thing would already be great as a collection of rare spiritual jazz, but with the book and overall package it's a hell of a deal – packed with musical goodness on cuts that include "Sketch (parts 1 & 2)" and "Road Through The Wall (parts 2 & 3)" by Thing, "For Margot" and "Tarot The Moon" by Mark Harvey Group, "The Creator Is So Far Out" and "Egypt" by Phil Musra Group, "9 Degrees Black Women Liberation" by Worlds, "Year Of The Ear Herds & Hoards" by Baird Hersey with Dave Liebman, and "Play Sleep" by Stanton Davis' Ghetto Mysticism. CD

A wealth of wonderful work from the key years of the British Invasion – including a fair bit of groups who never really crossed the Atlantic to invade our shores at the time! Liverpool is best known as the home of The Beatles, but during the early 60s, the city was host to a huge wave of creative activity – as were nearby cities in the north of England – and as you'll hear in this set, there was no end to the range of groups making killer records over the space of number of years! Some of the work here will ring your ears with familiar tones from UK 60s rock, yet in ways that are different than the mod styles down in London, there's plenty of overlooked gems here to discover – and given that the box set goes well into the second half of the 60s, there's plenty of tracks here that are way different than just the work that grew up in the shadows of the fab four! The package has that fantastic presentation we love from the Grapefruit/Strawberry label – really well-chosen cuts, supported by very detailed notes – a massive 93 tracks in all, with work from The Perishers, Quotations, Satin Bells, Cilla Black, Billy J Kramer & The Dakotas, Wimple Witch, Selftons, 23rd Turnoff, Tony Jackson & The Vibrations, The Mojos, Gerry & The Pacemakers, Wailing Howie Casey & The Seniors, Lee Curtis & The All-Stars, The Big Three, The Kinsleys, Wellington Wade, and dozens of others! CD

A totally wonderful compilation – and a fantastic way to dip into the world of Japanese city pop – a genre that most of us missed back in the day, in large part because most of these records never made it to the record racks in the US! As fans know, the movement was a huge crest of creative activity in Japanese music – a way of refining some of the best modes begun in the 70s by artists like Haruomi Hosono and Ryuichi Sakamoto (both of whom have a hand in some of the tracks here) – and mixing in some of the long love of American soul, funk, and jazz that had been brewing up for years. There's definitely a lot of soul inspiration on these cuts, even though lyrics are in Japanese – and the music also has some nice electric fusion moments too – although more of the sounds are from beats, keyboards, and basslines. Titles include an early cut by Pizzicato Five, "Boy Meets Girl" – plus "Love Sick" by Mari Iijima, "Pub Casablanca" by Osamu Shoji, "Tropical Love" by Teresa Noda, "Scandal Night" by Miharu Koshi, "Heartbeat" by Miho Fujiwara, "Tonkachi" by Atsuko Nina, "Bewitched" by Naomi Akimoto, "A Soka" by Susan, "Suiyoubi Madeni Shinitaino" by Yukako Hayase, and "Business Man (part 1)" by Makoto Matsushia. LP, Vinyl record album

Prog rock was shifting a bit as 1974 came into view, but the leading lights of the scene were still going strong – sometimes with new modes and slight shifts in production techniques that showed that the music was evolving very strongly, and not just content to mire in the modes of an initial wave of activity! If anything, most of the cats on this set are even sharper musicians and more daring songwriters than a few years before – which means that sometimes, there's an even more focused approach to the music – a bold message that can come across strongly, without a full side album jam – and with production elements that don't oversaturate as much, which almost seems to indicate that the prog scene of the moment were having some thoughts about musical shifts to come! As with the other titles in this series, the box features a superb set list – really well-chosen cuts that go past the obvious – accompanied by a very hefty set of notes on each act and the tunes within. 4CD set features 51 tracks in all – work from Caravan, Hawkwind, Gong, PFM, Sensational Alex Harvey Band, Peter Hammill, Neutrons, Nektar, Hatfield & The North, Traffic, Gravy Train, Darryl Way's Wolf, Procol Harum, Jethro Tull, Stackridge, Greenslade, Strawbs, Kevin Ayers, Jack Bruce, and others! CD

A really mindblowing collection of work from trumpeter Bill Dixon – and a package that does full justice to the other sides of his creative activity too! Odyssey is a limited, numbered box set – filled with 6CDs that include music from Dixon, and two books that also display his artwork and paintings – and also offer up some commentary on his music as well. 5CDs feature Dixon on mostly solo trumpet – with some of the recordings going as far back as the early 70s, but most of more recent vintage – and CD6 features Dixon speaking – in ways that really get at some of the larger ideas he explores in his recordings and paintings. The box also contains some great vintage paper inserts, too – almost as documents of the avant underground in which Dixon circulated in the 60s and 70s – and the book also features a few contributions from later students too. Even for the music alone, the set is a treasure – but the extra items all make it especially wonderful! CD

One of the coolest, moogiest records we've ever heard from Mort Garson – and that's saying a lot, given that the man gave us the Wozzard Of Iz and a host of moog-based astrological records too! The album's billed as "mood music especially composed to aid the growing of your plants" – and while we doubt that claim, it's more than groovy enough without any herbaceous activity at hand – these cool keyboard lines that are often sweetly tuneful, but nicely tripped-out too – played by one of the best cats to really grab hold of the moog right at the start of its great musical run! Titles include "A Mellow Mood For Maidenhair", "You Don't Have To Walk A Begonia", "Concerto For Philodendron & Pothos", "Ode To An African Violet", and "Plantasia". LP, Vinyl record album

That's a pretty racy cover – but the music inside is a lot more cool and classy – a set of sweet jazz funk numbers put together by the famous French maestro Alain Goraguer, with lots of nice electric touches! You may know Goraguer from his 60s work with singers – including France Gall and Serge Gainsbourg – or from his straighter soundtracks of that decade too – but here, he's going for a groovier, funkier style – one that fits the porno spirit of the cover, but with all the care and presentation of Alain's earlier work! In other words, these aren't just throwaway tracks churned out quickly for naughty movies – and instead, the songs are more like a 70s progression from the 60s soundtrack material by Goraguer. Titles include "Partenaires Particulieres Pour Parties Fines", "Kikumi Paravent Et Par Derriere", "Birgit Et La Male Du Pays", "Juliette Decoincee Dans L'Ascenseur", "Marie Jeanne Astique Le Pont", and "Post Scriptum Post Coitum". LP, Vinyl record album

One of the most obscure sessions on Strata East – and an excellent groover that really keeps up the label's soul jazz spirit! Jon Gordon's a lesser-known trombonist from the 70s, but he's working here with an all-star group that includes Charles Tolliver on trumpet, Stanley Cowell on piano, Roland Alexander on reeds, and Andrew Cyrille on drums – all coming together with a spirit that's quite similar to that of Tolliver's classic Music Inc recordings of the time! The titles are mostly all originals by Gordon, played in a loping, lyrical mode that often bursts out with a free-thinking approach to the solos. Titles include "P&G Incorporated", "No Tricks No Gimmicks", "Activity", "Step By Step", and "Dance Of the Ymas". LP, Vinyl record album

A really amazing look at the secret art and language of gang culture in Chicago – the most detailed book we've ever seen to examine the words on the street during the 60s, 70s, and 80s! Chicago had a very special sort of language to communicate gang activity and culture during the heyday of the city's big gangs – graffiti that was filled with codes and symbols, and which really predated major street art in New York – plus a network of patches, business cards, and other objects that conveyed a special sort of numerology and message – sometimes harmless words about parties and events, sometimes essential details about the criminal underworld. This book is fascinating on so many different levels – not just a prurient true crime story, but instead a very detailed examination of gang culture in terms of linguistics, visual media, and representation. Yet all that detail doesn't make things too dry, either – as the book is overflowing with photos and images – examples of street graffiti, countless business cards, patches, portraits, and more – even some maps at the back. The whole thing is a massive 375 pages, full color throughout, and very beautifully done! Book

The complete recordings of July – a set that features their rare original album, unreleased tracks, and lots of surprisingly great later material too! First up is the self-titled July album from 1968, presented in both mono and stereo mixes – the debut album from July – a group who only gave the world this gem of a record back at the end of the 60s – but who've gone on to become legendary, based on the strength of the set! The whole thing is a real standout in the psych scene of the UK – well-crafted songs that are tight, but groovy and loose at the same time – tuneful, but filled with experiments – and produced with just the right sort of inventive qualities to make the special flourishes and individual moments of genius really come to light! There's so many great things going on here – an all-rich, no-filler record that's filled with gems that include "My Clown", "Dandelion Seeds", "Jolly Mary", "Hallo To Me", "You Missed It All", "The Way", "To Be Free", "Crying Is For Writers", "I See", and "A Bird Lived". Next is Second Of July – a great counterpart to the legendary self-titled album from July – material recorded in a private setting, to predate that psych masterpiece – but every bit as stunning overall! The quality of this work goes way beyond its origins as demo material – as the sound is wonderful, the musical ideas very rich, and overall psychedelic conception is amazing! There's no overindulgence, but also no easy pop psych modes either – and it's really incredible how much these guys can pack into a short song – from unusual guitar lines, to freewheeling rhythms, and trippy ideas in the lyrics. Many numbers have a sweet groove underneath, and are slightly freakbeatish – but there's also a much more unique feel to the record as well. Tracks include "Dandelion Seeds", "You Missed It All", "My Clown", "Friendly Man", "I See", "The Girl In The Cafe", and "Move On Sweet Flower". The box set then moves into two later albums from a re-formed group – Temporal Anomaly and Resurrection – both of which feature material conceived over a number of years, issued on Resurrection in 2013, and on Temporal Anomaly here for the first time ever. Tracks are great – still very much in the spirit of the classic material, and produced with a nicely understated vibe. Last up is The Wight Album – a recent project from July – still sounding surprisingly great after all these years! At this point, the group is a duo – original members Peter Cook and Tom Newman – but they really manage to craft some great sounds here, with a style that ties back to their initial recording in 1968, and which features some of the successful flourishes of their revived activity from about a decade ago! The tunes are way better than any sort of younger attempt at material like this – mostly because there's a nicely understated, although still quite psychedelic, approach to the whole thing – maybe a reminder that with the best psych records, charm is every bit as important as fuzz. Titles on the double-length set include "The Traveler", "Sophie", "Special Guy", "Henry's Squirrel", "Seeking The Hacksaw Blades", "The Game", "What's Gonna Be", "Disco Klingon", "Mods Of Ryde", "It's Up To Me", and "Once When We Was Free". CD

Maybe the largest book we've ever seen to focus on the artwork of Robert Rauschenberg – a huge volume that's overflowing with full color images – and which traces a lineage of creative activity that's much longer than we would have guessed! The book's divided up into chapters on so many different eras in the career of this groundbreaking visual artist – and also contains a good deal of history and writings on his artwork along with the images – served up in a super-heavy, hardcover book that's over 350 pages in all – stuffed with paintings, collages, photographs, and plenty more! Book

Key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this first volume include "Sue's Changes", "Devil Blues", and "Duke Ellington's Sound Of Love". LP, Vinyl record album

Janelle Monae took a bit of a rest between this album and her last – but given the results, it feels like she's really recharged her groove in that surprisingly long stretch! Not that Janelle needed recharging at all – but there's something here that sets the record apart from earlier chapters in her career – and not in a commercial way, or something that feels like a sidestep – maybe just a bit like Sade after the first few records – able to space out her creative activity, and always keep us wanting more! There's maybe a more down to earth approach here than before – but at a level that makes the whole thing feel more heavenly overall – and Monae works with guests who include Sister Nancy, Seun Kuti, and Grace Jones – on titles that include "The Rush", "The French 75", "Float", "Black Sugar Beach", "Phenomenal", "Ooh La La", "Lipstick Lover", "Paid In Pleasure", "A Dry Red", and "Only Have Eyes 42". LP, Vinyl record album

One of the strangest albums ever recorded for Blue Note – and one of the coolest, too! Duke Pearson recorded this set in 1969 – during the middle of his last productive period of activity, at a time when he was doing some tremendous genre-crossing jazz that really broke from his earlier styles. The set's got Duke on acoustic piano and celeste – backed by a rhythm section that includes Bob Cranshaw on bass and Mickey Roker on drums, plus Airto on percussion! The sound's more open, more free than you'd expect for a Christmas album – extremely soulful overall, in a mode that makes for some great readings of "Sleigh Ride", "Wassail Song", "Go Tell It On The Mountain", "Jingle Bells", and "Little Drummer Boy". LP, Vinyl record album

One of the strangest albums ever recorded for Blue Note – and one of the coolest, too! Duke Pearson recorded this set in 1969 – during the middle of his last productive period of activity, at a time when he was doing some tremendous genre-crossing jazz that really broke from his earlier styles. The set's got Duke on acoustic piano and celeste – backed by a rhythm section that includes Bob Cranshaw on bass and Mickey Roker on drums, plus Airto on percussion! The sound's more open, more free than you'd expect for a Christmas album – extremely soulful overall, in a mode that makes for some great readings of "Sleigh Ride", "Wassail Song", "Go Tell It On The Mountain", "Jingle Bells", and "Little Drummer Boy". CD

Maybe one of the most powerful records we've ever heard – music that seems to open up a whole new chapter in his career, and maybe reflect some of the non-stop creative activity he's been engaged in while supporting jazz and a variety of other musics on the global scene! The album is a set of tracks that were inspired by an essay about a New Yorker who died alone in solitude, and the presentation is done in a way that's almost in the post-jazz territory of the International Anthem label – Reed as both a drummer and visionary leader, weaving together strands of sound from Rob Frye on tenor and flute, Ben LaMar Gay on cornet and flugelhorn, and both Dan Quinlivan and Cooper Crain on keyboards, the latter of whom also plays guitar. Marvin Tate delivers some very righteous spoken passages, and the shift of sounds and moods throughout the album is completely evocative – on titles that include "Our Own Love Language", "Eric's Theme", Rahsaan In The Serengeti", "Floating With An Intimate Stranger", "Low Frequency Nightmare", and "Your Soul". CD

Maybe one of the most powerful records we've ever heard – music that seems to open up a whole new chapter in his career, and maybe reflect some of the non-stop creative activity he's been engaged in while supporting jazz and a variety of other musics on the global scene! The album is a set of tracks that were inspired by an essay about a New Yorker who died alone in solitude, and the presentation is done in a way that's almost in the post-jazz territory of the International Anthem label – Reed as both a drummer and visionary leader, weaving together strands of sound from Rob Frye on tenor and flute, Ben LaMar Gay on cornet and flugelhorn, and both Dan Quinlivan and Cooper Crain on keyboards, the latter of whom also plays guitar. Marvin Tate delivers some very righteous spoken passages, and the shift of sounds and moods throughout the album is completely evocative – on titles that include "Our Own Love Language", "Eric's Theme", Rahsaan In The Serengeti", "Floating With An Intimate Stranger", "Low Frequency Nightmare", and "Your Soul". LP, Vinyl record album

Maybe one of the most powerful records we've ever heard – music that seems to open up a whole new chapter in his career, and maybe reflect some of the non-stop creative activity he's been engaged in while supporting jazz and a variety of other musics on the global scene! The album is a set of tracks that were inspired by an essay about a New Yorker who died alone in solitude, and the presentation is done in a way that's almost in the post-jazz territory of the International Anthem label – Reed as both a drummer and visionary leader, weaving together strands of sound from Rob Frye on tenor and flute, Ben LaMar Gay on cornet and flugelhorn, and both Dan Quinlivan and Cooper Crain on keyboards, the latter of whom also plays guitar. Marvin Tate delivers some very righteous spoken passages, and the shift of sounds and moods throughout the album is completely evocative – on titles that include "Our Own Love Language", "Eric's Theme", Rahsaan In The Serengeti", "Floating With An Intimate Stranger", "Low Frequency Nightmare", and "Your Soul". LP, Vinyl record album

A key early moment for Memphis soul legend Rufus Thomas – a singer who'd already been working and recording on the scene for about a decade, but who finally got some national attention with this raw soul album for Stax! The set's got all the sharp, hard Stax approach in the grooves – that no-nonsense collaborative vibe that made the label's studio such a hotbed of activity at the time – which allowed Rufus to just step in and open up his many charms on a set of cuts that bridge the world between R&B and early soul! Almost every track is a hard soul dancer – not funk, as in later Stax material by Rufus – but with a sound that's equally raw. Titles include the hit "Walking The Dog", plus "Can Your Monkey Do The Dog", "The Dog", "Mashed Potatoes", "Ya Ya", "Land Of 1000 Dances", "It's Aw-rite", and "Boom Boom". CD

Some of the wildest sounds we've ever heard from Japanese drummer Masahiko Togashi – a set that really lives up to its title's promise of immediate creative activity, as the whole thing feels as if it was spontaneously improvised throughout! There's definitely a free jazz approach taking place – but other elements also reflect some of the more subtle sonic areas that Togashi would bring to his music of the 70s – still pretty bracing and bold at times, but also with a sense of space that really enriches the whole proceedings. Instrumentation features tenor, guitar, bass, cello, and cornpipe – and titles include "Variations On A Theme of Feed-Back", "Invitation To Corn-Pipe Dance", "Artistry In Percussions", and "Fantasy For Strings". LP, Vinyl record album

A European disco world that's ripe for rediscovery – one that's much more obscure than better-known club work from Germany, France, and Italy – but which may well be even groovier than the work from those three scenes! The package is a great complement to some of the funk and jazz sets on the Sdban label – and like those, it really digs deep – to uncover a vast array of music from the small nation – which was clearly a hotbed of groovy activity in the 70s, at a level that none of us realized at the time! The tunes here mix together funk and pop, soul and disco – all in ways that criss-cross strongly with more familiar modes of the period – but often have an offbeat quality, and sometimes a surprising sense of humor that comes through in the mostly English lyrics in the lead. 2CD set features 30 tracks – and titles include "Ethereo Disco" by R Roland, "King Kong" by Carl Watson, "Baby Won't You Turn Me On" by Charles Watson, "Sexy" by Lovedream, "La Gomme" by L2, "Cool & Get Up" by Quartz, "I'm Free" by Steve, "Groovin To The Music" by Flame, "Queen To The Pharoah" by Marianne, "Feel So Glad" by Dan Davis, "Ivro De Vie" by Kevin Moraine, "Be My Love Tonight" by CC Band, "Strange How You Move" by Venus, and "Bubblegum" by Bubble. CD

A European disco world that's ripe for rediscovery – one that's much more obscure than better-known club work from Germany, France, and Italy – but which may well be even groovier than the work from those three scenes! The package is a great complement to some of the funk and jazz sets on the Sdban label – and like those, it really digs deep – to uncover a vast array of music from the small nation – which was clearly a hotbed of groovy activity in the 70s, at a level that none of us realized at the time! The tunes here mix together funk and pop, soul and disco – all in ways that criss-cross strongly with more familiar modes of the period – but often have an offbeat quality, and sometimes a surprising sense of humor that comes through in the mostly English lyrics in the lead. Part 1 of the vinyl series features 16 tracks – and titles include "Ethereo Disco" by R Roland, "King Kong" by Carl Watson, "Baby Won't You Turn Me On" by Charles Watson, "Sexy" by Lovedream, "La Gomme" by L2, "Cool & Get Up" by Quartz, "I'm Free" by Steve, "Groovin To The Music" by Flame, "Queen To The Pharoah" by Marianne, "Feel So Glad" by Dan Davis, "Ivro De Vie" by Kevin Moraine, "Be My Love Tonight" by CC Band, "Strange How You Move" by Venus, and "Bubblegum" by Bubble. LP, Vinyl record album

The fourth fantastic chapter in this wonderful trip through the 60s – headed up by author Jon Savage, as a great soundtrack to his documents of the time! If you know Savage at all, you'll know to expect something different and fresh – an unusual take on the period, and one that goes way past the chart hits and overplayed oldies – to instead uncover currents of cultural activity at a much deeper level! And sure, there's a number of familiar songs here – but they're mixed with lesser-known gems, and presented in this great double-length package that features 48 tracks in all – all with notes from Savage himself. Titles include "Talkin About The Good Times" by Pretty Things, "Eastern Organ" by Brother Dan All Stars, "Hard To Handle" by Otis Redding, "Freedom Train" by James Carr, "Say It Loud (part 1)" by James Brown, "Omnibus" by The Move, "Sunshine Help Me" by Spooky Tooth, "Everydays" by Buffalo Springfield", "How Does It Feel To Feel" by The Creation, "Dear Delilah" by Grapefruit, "Machines" by Lothar & The Hand People, "Tomorrow Street Puzzle" by Fairport Convention, "I Got A Line On You" by Spirit, "Kick Out The Jams (preview pressing)" by MC5, "World In A Jug" by Canned Heat, "Classical Gas" by Mason Williams, "Honey Chile" by Martha Reeves & The Vandellas, "Danse A La Musique" by The French Fries, "Israelites" by Desmond Dekker, and "Why Does It Feel So Right" by The Shades Of Jade. CD

A totally wonderful compilation – and a fantastic way to dip into the world of Japanese city pop – a genre that most of us missed back in the day, in large part because most of these records never made it to the record racks in the US! As fans know, the movement was a huge crest of creative activity in Japanese music – a way of refining some of the best modes begun in the 70s by artists like Haruomi Hosono and Ryuichi Sakamoto (both of whom have a hand in some of the tracks here) – and mixing in some of the long love of American soul, funk, and jazz that had been brewing up for years. There's definitely a lot of soul inspiration on these cuts, even though lyrics are in Japanese – and the music also has some nice electric fusion moments too – although more of the sounds are from beats, keyboards, and basslines. Titles include an early cut by Pizzicato Five, "Boy Meets Girl" – plus "Love Sick" by Mari Iijima, "Pub Casablanca" by Osamu Shoji, "Tropical Love" by Teresa Noda, "Scandal Night" by Miharu Koshi, "Heartbeat" by Miho Fujiwara, "Tonkachi" by Atsuko Nina, "Bewitched" by Naomi Akimoto, "A Soka" by Susan, "Suiyoubi Madeni Shinitaino" by Yukako Hayase, and "Business Man (part 1)" by Makoto Matsushia. CD

A totally wonderful compilation – and a fantastic way to dip into the world of Japanese city pop – a genre that most of us missed back in the day, in large part because most of these records never made it to the record racks in the US! As fans know, the movement was a huge crest of creative activity in Japanese music – a way of refining some of the best modes begun in the 70s by artists like Haruomi Hosono and Ryuichi Sakamoto (both of whom have a hand in some of the tracks here) – and mixing in some of the long love of American soul, funk, and jazz that had been brewing up for years. There's definitely a lot of soul inspiration on these cuts, even though lyrics are in Japanese – and the music also has some nice electric fusion moments too – although more of the sounds are from beats, keyboards, and basslines. Titles include an early cut by Pizzicato Five, "Boy Meets Girl" – plus "Love Sick" by Mari Iijima, "Pub Casablanca" by Osamu Shoji, "Tropical Love" by Teresa Noda, "Scandal Night" by Miharu Koshi, "Heartbeat" by Miho Fujiwara, "Tonkachi" by Atsuko Nina, "Bewitched" by Naomi Akimoto, "A Soka" by Susan, "Suiyoubi Madeni Shinitaino" by Yukako Hayase, and "Business Man (part 1)" by Makoto Matsushia. LP, Vinyl record album

A totally cool collection of songs, sound effects, and vintage movie trailers – all pulled from the glory days of the American horror film! The package is a tribute to the old time monster shows that used to travel the theater circuit – a mix of horror movies and live action activity – revived by by the folks at Something Weird in live performances, a great counterpart to all the great films they've given us on DVD over the years! This set brings together the kind of deep knowledge that only fans of these lost b-movie gems could discover – a massive 32 track package that features the songs "The Morgus Creep" by The Daringers, "Cemetary Stomp" by The Essex, "Count Dracula" by The Rockin Continentals, "Haunted House" by Oscar & The Majestics, "The Giggler" by The Pot & The Wildcats, "The Guillotine" by The Executioners, "Transylvania" by The Mysterians, and "Night Beat" by The Night Beats – plus a huge host of film trailers, radio spots, and more! Also features a bonus DVD of the live Something Weird Spook Show. LP, Vinyl record album

The seventh album from prolific modern funky soul gurus The Baker Brothers – a tight, thunderous mix of vocals and instrumentals that range from rawly raucous numbers to sly little groovers! The group really is a well oiled engine at this point – after a good decade or so of activity. Time To Testify is up there with their best material – a record with a nice, live feel and excellent instrumentation for the group! Chris Pedley on bass and piano, Paul Young on sax and flute, Geoff Lai on guitar and lead vox, Rich Baker on drums & percussion, Ted Carrasco on drums and percussion, and Sott Baylis on trumpet, Rhodes, Hammond, clavinet and Moog. Includes "Make Your Move", "Painting Pictures", "Once I Had A Friend", "Patience", "Feeding Freddie", "Pieces Of The Puzzle", "Hang Loose", "The Bottom Rung", "The Young Patter", "Snap Back", "Head South", "Genki Strut" and more. 16 tracks on the CD version. CD

A beautiful book that does a great job of capturing the wide range of creative and community activity of Theaster Gates – one of the most important artists to emerge from the Chicago scene in the past few decades! Gates is way more than just an artist, though – as his works involve constant interaction with the city around him, sometimes as larger social projects that seek to offer opportunity and transform the community – sometimes with aspects that work almost to document lost or unseen cultures in Chicago – but always with an inventive, genre-defying quality that continues to keep all his creativity and ideas relevant over the years. The book is divided up into a variety of sections – including an interview with Gates, a studio visit, a document of important works, and even a timeline of his creative activity and role in Chicago – served up in an oversized, softcover volume – full color throughout, with 158 pages in all. Book

A collaboration between trumpeter Dave Douglas and pianist Elan Mehler – but a record that seems to draw equal input from the vocals of Dominique Eade, who's a key force on the session – delivering these darkly poetic lyrics that are matched beautifully by both of the leaders – then taken into a rich tapestry of sonic activity through further work from John Gunther on saxes and bass clarinet, Simon Willson on bass, and Dayeon Seok on drums. The original album was a vinyl-only release on the subscription-only Newvelle label, but this CD issue adds in other tracks not on the vinyl – a set of 13 titles that include "Even A Nameless Stream", "Wolf Orchard", "Here On The Plains", "Barn's Burnt Down", "Life", The Spring Current", "With Your Singing", and "If There Are Mountains". CD

A great return to form for this legendary Somalian group – a combo who made some important records in the 80s, but were part of the huge diaspora on their scene as the troubles of the following decade forced a long pause in cultural activity! Here, the group are reborn with new youthful energy – as Dur Dur Band International, and working here with vocals from three different singers – Fadumina Hilowle, Zabiib Sharabi, and Cabdinuur Alaale – three different voices who really help expand the sound of the set! There's still plenty of East African roots here – in both the rhythms, and the exotic currents of the keyboards and saxophone lines – and despite the Berlin setting for the album, the record has a very traditional approach to production and presentation. Titles include "Love My Love", "Duurka", "Jija Love", "Sallal", "Heeyaa", "Hasha Geel", and "Riyo". LP, Vinyl record album

A really fierce blend of avant jazz and post-punk energy – served up here by a group that effortlessly mix complicated reed lines with more driving drums and electric bass – all peppered with vocal contributions from singer Sofia Jernberg! Mats Gustafsson is one of the key forces here – playing flutes, baritone, and live electronics – and really reminding us that his ear for sonic activity is boundless, and open to interactions in just about any sphere – no surprise, given his other records – but still emphasized very strongly with the freshness of this album! Other group members include Borge Fjordheim on drums, Anders Hana on baritone and bass guitars, and Kjetil Moster on clarinet, tenor, and electronics. Titles include "Snow", "Wasted Blame", "Smokey Black", "Whose Face", "Winter Doesn't End", and "Black Vivaldi Sonata". CD

The sonic intensity of saxophonist Mats Gustafsson gets a perfect foil here in the electronics of Joachim Norwall – a musician who really helps Gustafsson to reach some of the most powerful sounds we've heard from his horns in years! Mats can have a way of blowing his instruments as if they're almost modular electronics – not in a cold sort of approach, but one that works the reeds and pads with a pulsating sort of energy – waves of sonic activity shifting in pace, as he creates this incredible magic on baritone sax, slide saxophone, bass saxophone, alto fluteophone, and flute – while Norwall delivers work on analogue electronics in a range of different styles. Sometimes the electronics are more in the background of the saxophone improvisations, sometimes more actively upfront – and titles on the set include "There Are Some Worlds Where All Dreams Die", "Their New Life Was Their Final Life", "Birdbrain", "His Fingers Moving In The Air Produced A Soft Organ Like Music", "Here Eyes Were Like Cold Fires", and "The Day Of Days Was There". LP, Vinyl record album

Italy was hit hard in the postwar years – as you've no doubt seen in the urban landscapes of neo-realist directors from the time – but the city of Rome was one of the first places to really bounce back, and was ablaze with new cultural activity during the 50s! The story of that scene and its rise is told in great detail here by writer Shawn Levy – who looks at directors, movie stars, designers, journalists, and other key cultural figures who helped shape the city at the time – a place that already sounds amazing enough for the nightclubs in the background of the story – much less the story itself! The book is 447 pages, hardcover, with some photos – and is a narrative that's every bit as interesting as the Fellini film for which it's named! Book

One of the 2 terrific records ex-Fairport Convention singer-songwriter Ian Matthews cut for the Vertigo label in the early 70s – built around Matthews wonderful vocals and acoustic guitars, but with a tighter rhythmic backdrop the the typical post folk trope! The key here is warmth – particularly in Ian's vocals, which carries over on some great little tunes! Tracks include "Tigers Will Survive", "Midnight On The Water", "Right Before My Eye", "Hope You Know ", "Please Be My Friend ", "House Of Unamerican Blues Activity Dream", "The Only Dancer" and more, LP, Vinyl record album

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

A very cool collaborative project – the second offering from Stereolab founder Laetitia Sadier, and the Brazilian group Mombojo – working together in a style that stays true to their previous creative activity, yet which definitely forges something new! Given that Laetitia's always had an ear for updating older French modes and sounds from the glory days of analog electronics, and Mombojo are a more forward-thinking group with a very fresh vibe, the mix here is every bit as compelling on record as it sounds on paper – more instrumental at times than you might expect, and with a spacey sound that really lives up to the music's placement on the Duophonic label too. Titles include "A Time To Blossom", "Trauma Release Makes Free", "What Will You Grow Now", "Making Something", and "Le Train Ne Passera Pas". CD

A fantastic little set that heralds the beginning of a whole new generation in music – post-psych sounds from the year of 1969 – a time when the revolution had cooled a bit, but new waves of creative activity were really bubbling underground in the UK scene – as all these many groups and singers were striding forth to make their own sorts of sounds, after borrowing bits from others in previous years! The music here is more compact than later prog, but equally jamming – and some of the artists were born from blues and R&B inspirations, but are really moving into their own territory here – helping forge styles that would set the pace for so much more music to come in the 70s! The groups aren't completely obscure – most were recording for the hipper sides of bigger labels – but the tracks here often mark a point when they were just leaping off, a bit before hitting bigger fame – mixed with a few others that never hit the heights later on. As always with these boxes from Cherry Red/Esoteric, the presentation, set list, and notes are great – supporting 52 tracks from groups that include Colosseum, High Tide, Bloodwyn Pig, Jack Bruce, Pete Brown & Piblokto, Free, Jethro Tull, Genesis, East Of Eden, Man, Fat Mattress, Locomotive, Eyes Of Blue, Fairport Convention, The Deviants, Sunforest, Taste, Ten Years After, Mighty Baby, Michael Chapman, and many more! CD

The fourth fantastic chapter in this wonderful trip through the 60s – headed up by author Jon Savage, as a great soundtrack to his documents of the time! If you know Savage at all, you'll know to expect something different and fresh – an unusual take on the period, and one that goes way past the chart hits and overplayed oldies – to instead uncover currents of cultural activity at a much deeper level! And sure, there's a number of familiar songs here – but they're mixed with lesser-known gems, and presented in this great double-length package that features 48 tracks in all – all with notes from Savage himself. Titles include "Talkin About The Good Times" by Pretty Things, "Eastern Organ" by Brother Dan All Stars, "Hard To Handle" by Otis Redding, "Freedom Train" by James Carr, "Say It Loud (part 1)" by James Brown, "Omnibus" by The Move, "Sunshine Help Me" by Spooky Tooth, "Everydays" by Buffalo Springfield", "How Does It Feel To Feel" by The Creation, "Dear Delilah" by Grapefruit, "Machines" by Lothar & The Hand People, "Tomorrow Street Puzzle" by Fairport Convention, "I Got A Line On You" by Spirit, "Kick Out The Jams (preview pressing)" by MC5, "World In A Jug" by Canned Heat, "Classical Gas" by Mason Williams, "Honey Chile" by Martha Reeves & The Vandellas, "Danse A La Musique" by The French Fries, "Israelites" by Desmond Dekker, and "Why Does It Feel So Right" by The Shades Of Jade. CD

A really unusual collection, and one that really captures a key musical moment in the London scene – a time when all sorts of underground activity was happening on the rave scene, but people didn't have the world of cell phones and internet to connect! So instead, folks got news out about these less-than-legal happenings by tapping into the mainstream – often with posters and flyers, but also through radio advertisements that would pop up often on pirate radio – often buried in some sort of mix of house cuts or jungle tracks! You'll hear plenty of those on here, but served up with these spoken ads that sneak in and tell about all sorts of events – almost three dozen of them, all with a blaring sense of fidelity that really takes us back to a time when radio was the most important way we found out about new and underground sounds. There's plenty to love here if you're a fan of the darker sounds of the London sound in the mid 90s – especially the world of jungle and early drum n bass! CD

A collection of cuts that's way hipper than you might expect – partly the hard rock promised in the title, but also served up in all these really weird and wild ways that more than live up to the unusual spirit of the Finnish scene of the 70s! At the time, Finland was a surprising hotbed of creative recording activity – farther reaches in jazz, inside grooves in fusion, and a strong legacy of rock groups who were really picking up the fuzz and power that UK groups had unleashed at the end of the 60s! There's plenty here that would stand perfectly right next to the headiest guitar hero groups of that generation – but there's also differences at times, too – like a cool, compressed production style that often makes for some really great sonic play overall – and heavy drums that almost get into some funky passages at points. And of course, the lyrics are all in Finnish, which makes these tracks sound even cooler than they might in English – served up on a well-chosen set list that includes "Superkingi" by Jigsaw, "Palaa" by Yellow, "Rokkilauaja Vain" by Danny, "Uskontunnustus" by Woodoo, "Pikku Nainen" by Hard Rock Sallinen, "Plastic Maailma" by Paroni Paakkunaien, "Kivistdan" by Sulo's Rock Band, "Vieras Sateesta" by Apostolit, "American Look" by Haikara, and "Hideko Tojo" by Apollo. LP, Vinyl record album

One of the all-time classic funk records from the 70s – a set that grabs you with the very first note, and lets you know that you've really stumbled onto something groovy! South Side Movement have a sinister groove that's very much their own – not like James Brown, The Meters, or just about anyone else – cooked up on the south side of Chicago at a time when the city was a real hotbed of creative activity in all sorts of different ways – and served up with the sort of sophistication that often marked some of the best Windy City groups of the time! Jimmy Van Leer produced, and the whole thing's got a mix of sophisticated instrumentation and straightforward funk that's wonderful – heard to great effect on the classic leadoff track "I Been Watching You" – and followed by so many other great gems that include "Mud Wind", "Superstition", "Can You Get To That", "La Dee Da", and "You're Gonna Lose My Love". CD features bonus tracks – the previously unissued "Done Got Good To Me", and the single mix of "Mud Wind". CD