An excellent compilation of unusual Brazilian music! The comp features work by the legendary Brazilian producer Roberto Quartin – pulled from his self-named Brazilian record label – his second after the legendary Forma label, home to many bossa nova classics of the mid 60's. The scope of this label, and of Quartin's production work, was much more far-reaching than his bossa stuff, and the work on here by Jose Mauro, Victor Assis Brasil, and Piri represents a high point in Brazilian music during the late 20th century. The pieces on this LP are infused with an amazing mix of jazz, MPB, and regional Brazilian rhythms, and the work is all delivered with a breathtaking sense of vision through Quartin's genius production style. One of our favorite releases on Far Out, and an amazing package of tracks! LP, Vinyl record album

An amazing album of vocal Brazilian jazz and sweet electric funk – a standout classic that's forever been at the top of our stack of 70s Brazilian music! Singer Ana Mazzotti is at the head of the session – singing with this breezy style that's at once cold and warm, cool and emotive – and she's backed by a small jazz combo with some incredible moog, Arp, and organ from Jose Roberto Bertrami of Azymuth! The record's got a bucketful of groove-heavy tracks that feel like CTI meeting up with Joao Donato – and the album's a treasure that should be in the collection of any fan of 70s Brazilian funk! Titles include "Cordao", "Soul", "Bairro Negro", "Eu Sou Mai Eu", "Roda Mundo", "Sou", and "Agora Ou Nunca Mais" – plus an incredible version of "Feel Like Making Love"! CD

A never-issued album by the great Hermeto Pascoal – recorded in the space between his 70s classics Slaves Mass and A Musica Livre – and every bit as amazing as those classics! The music here is fluid, open, and a fantastic mix of jazz and all of Hermeto's new ideas about musical structure – performed at a level that's highly organic, and with that completely individual vision that Pasocal brought to his sound from the start! This isn't typical Brazilian fusion of the time, but nor is it anything like the tighter sounds that Airto and Flora Purim were recording up in the US – instead, a musical mode that's completely in its own space, and which needs only one listen to convince you of the master's genius. The group here is overflowing with young talent – Lelo Nazario on keyboards, Nivaldo Ornelas and Mauro Senise on saxes and flute, Toninho Horta on guitar, Zeca Assumpcao on bass, and Ze Eduardo Nazario on drums – all important musical visionaries on their own, working together here to hit an even new level of creativity. Aleuda Chaves sings wordlessly on a bit of the record – and the whole thing has that blend of soaring sound and lyricism that marks Pascoal at his best. Titles include "Danca Do Paje", "Natal", "Casinha Pequinina", and "Mavumvavumpefoco". LP, Vinyl record album

A surprisingly great pairing of talents – the post-Animals Eric Burdon on vocals, and early grooves from Cali funk legends War – coming together here in a blend that still holds up beautifully after all these years! Burdon was already getting pretty soulful on the last few Animals albums on MGM – and he really advances that style here when working with War's great grooves – some of the grittiest, nastiest, most stretched out work of their career – especially on some of the album's nicely long tracks. There's some nice Latin currents to the music at times, and the group vocalize alongside Burdon at times – and titles include a long version of "Paint It Black", plus "Bare Back Ride", "Sun/Moon", "Pretty Colors", "Gun", "Nuts Seeds & Life", "They Can't Take Away Our Music", and "Spirit". LP, Vinyl record album

Amazing early work from Azymuth – rare demo recordings done at the home studio of keyboardist Jose Roberto Bertrami, in the short space before the group issued their legendary debut! The tracks here are as much jazz funk as they are the later modes that Azymuth would put forth – killer instrumentals that are really driven by great keyboard lines from Bertrami, who'd already been making music in other formats for years – and who works here on Fender Rhodes, Arp, Clavinet, Hammond, and a range of other keyboards too! The drums are fantastic, too – handled by a young Ivan Conti, who gets help on percussion from an early fourth member of the group, Ariovaldo Contesini – and as you might guess, the incredible basslines of Ivan Mamao Conti really help the whole thing groove. All material is very well-recorded – these aren't rough or unfinished tracks at all – and the whole thing should just be thought of as a first chapter for the group, right before they started putting out their famous records. Titles include "Prefacio", "Castelo", "Melo Do Cuica", "Xingo", "Laranjeiras", "Eqiupe 68", "Unknown Song For Mario Telles", "Manha", "Duro De Roer", "Quem Tem Medo", "Juntos Mais Uma Vez", and "Bateria Do Mamao". CD

Amazing early work from Azymuth – rare demo recordings done at the home studio of keyboardist Jose Roberto Bertrami, in the short space before the group issued their legendary debut! The tracks here are as much jazz funk as they are the later modes that Azymuth would put forth – killer instrumentals that are really driven by great keyboard lines from Bertrami, who'd already been making music in other formats for years – and who works here on Fender Rhodes, Arp, Clavinet, Hammond, and a range of other keyboards too! The drums are fantastic, too – handled by a young Ivan Conti, who gets help on percussion from an early fourth member of the group, Ariovaldo Contesini – and as you might guess, the incredible basslines of Ivan Mamao Conti really help the whole thing groove. All material is very well-recorded – these aren't rough or unfinished tracks at all – and the whole thing should just be thought of as a first chapter for the group, right before they started putting out their famous records. Titles on this first volume include "Prefacio", "Castelo", "Melo Do Cuica", "Xingo", "Laranjeiras", "Eqiupe 68", and "Unknown Song For Mario Telles". LP, Vinyl record album

Amazing early work from Azymuth – rare demo recordings done at the home studio of keyboardist Jose Roberto Bertrami, in the short space before the group issued their legendary debut! The tracks here are as much jazz funk as they are the later modes that Azymuth would put forth – killer instrumentals that are really driven by great keyboard lines from Bertrami, who'd already been making music in other formats for years – and who works here on Fender Rhodes, Arp, Clavinet, Hammond, and a range of other keyboards too! The drums are fantastic, too – handled by a young Ivan Conti, who gets help on percussion from an early fourth member of the group, Ariovaldo Contesini – and as you might guess, the incredible basslines of Ivan Mamao Conti really help the whole thing groove. All material is very well-recorded – these aren't rough or unfinished tracks at all – and the whole thing should just be thought of as a first chapter for the group, right before they started putting out their famous records. Titles on this second volume include "Manha", "Duro De Roer", "Quem Tem Medo", "Juntos Mais Uma Vez", and "Bateria Do Mamao". LP, Vinyl record album

The legendary Azymuth take on one of their all-time classics – the tune "Jazz Carnival", which helped the trio move from being a Brazilian fusion combo to lasting legends of a jazzy dancefloor! Side one features the full 8 minute version of the tune from 1996 – building beautifully up over time, with great beats layered underneath the sweet keyboards of Jose Roberto Bertrami! The "space jazz mix" is a bit sharper and more contemporary – a nice crackle, but still plenty of soul. 12-inch, Vinyl record

An amazing album of vocal Brazilian jazz and sweet electric funk – a standout classic that's forever been at the top of our stack of 70s Brazilian music! Singer Ana Mazzotti is at the head of the session – singing with this breezy style that's at once cold and warm, cool and emotive – and she's backed by a small jazz combo with some incredible moog, Arp, and organ from Jose Roberto Bertrami of Azymuth! The record's got a bucketful of groove-heavy tracks that feel like CTI meeting up with Joao Donato – and the album's a treasure that should be in the collection of any fan of 70s Brazilian funk! Titles include "Cordao", "Soul", "Bairro Negro", "Eu Sou Mai Eu", "Roda Mundo", "Sou", and "Agora Ou Nunca Mais" – plus an incredible version of "Feel Like Making Love"! LP, Vinyl record album

Wonderfully groovy work from Marcos Valle – one of the artists who first inspired us to start a record store many years ago! Marcos is back, and in very soulful formation – working here in a mode that recalls some of his fantastic soul-based sounds in the early 80s – including his great collaborations with the legendary Leon Ware! The tunes are upbeat and funky, but still have all the personal warmth that Valle brings to his music – a special blend that few folks could ever touch, even back in the day – and which, all these many years later, reminds us just how distinct the music of Marcos has always been. Valle sings and plays plenty of great keyboards – and the whole thing was produced and arranged by Daniel Maunick, a perfect partner in crime for Marcos. Titles include "Minha Roma", "Olha Quem Ta Chengado", "Sempre", "Sitancia", "Vou Amanha Saber", "Odisseia", and "Alma". CD

An incredible record from the legendary Quartin label – and a set that, like most of the releases from that imprint, has a sound that's years ahead of its time! Piri's a guitarist, and works here with an instrumental combo who support his soaring, scatting vocals – in a mode that's maybe in the same blend of roots, jazz, and larger ideas as the most creative late 60s moments by Quarteto Novo, Marcos Valle, or Edu Lobo – a completely rich reworking of previous musical ideas into a fantastic new tapestry of sound – one that still has an honest, earthy appeal – even while the sound is soaring to the skies! Piri sings, with help from singer Tita – but mostly in a non-verbal way – alongside his own guitar, and flutes from Paulinho Jobim and Danilo Caymmi, piano from Geraldinho Carneiro, bass from Jorge Marinho, and drums from Wilson Das Neves. The whole album's wonderful – and titles include "Reza Brava", "Chao Vermelho", "Espiral", "Lagrimas", "Porta Do Sol", "Voces Querem Mte", and "O Som Do Roberto". LP, Vinyl record album

Wonderfully groovy work from Marcos Valle – one of the artists who first inspired us to start a record store many years ago! Marcos is back, and in very soulful formation – working here in a mode that recalls some of his fantastic soul-based sounds in the early 80s – including his great collaborations with the legendary Leon Ware! The tunes are upbeat and funky, but still have all the personal warmth that Valle brings to his music – a special blend that few folks could ever touch, even back in the day – and which, all these many years later, reminds us just how distinct the music of Marcos has always been. Valle sings and plays plenty of great keyboards – and the whole thing was produced and arranged by Daniel Maunick, a perfect partner in crime for Marcos. Titles include "Minha Roma", "Olha Quem Ta Chengado", "Sempre", "Sitancia", "Vou Amanha Saber", "Odisseia", and "Alma". LP, Vinyl record album

A double-length set that brings together 2 key early live sets by Albert Ayler – both recorded on the New York scene of the mid 60s! Bells was an unusual one-sided record that featured only 20 minutes of music, performed with an intensity that hardly leaves room for complaints about the shortness of the album! The single track "Bells" was performed at Town Hall by Ayler with a group that includes Donald Ayler on trumpet, Charles Tyler on alto sax, Lewis Worrell on bass, and Sunny Murray on percussion – all coming together in a raw, real sense of freedom – beautifully explored here without ever getting too overindulgent. The tune may well be one of the greatest illustrations of the ESP format at its best – as Ayler and company never stray too far, but carve out some incredibly imaginative space through their starkly-blown horn solos! Prophecy is longer – a full album that was recorded live in 1964 at the Cellar Cafe in New York, but not issued by ESP until years later, after Ayler's untimely early death. The performance is a trio outing – with Ayler's tenor alongside the bass of Gary Peacock and drums of Sunny Murray – all freely skirting around each other's space on the date, in a way that allows Ayler to take the bold lead with his sharp-toned solos, but which also allows for free interplay between the bass and percussion. Ayler's tone and wide swaths of sound are simply amazing – and titles include two variations on "Ghosts", plus "Spirits", "Prophecy", and "Wizard". LP, Vinyl record album

A classic album of vocal tracks from Chet Baker – working here with a core group that features piano by Russ Freeman and flute by Bud Shank – plus additional arrangements on some tracks by the likes of Johnny Mandel, Marty Paich, and Frank Campo. The album's classic Chet all the way through – cool but fragile – summed up in the set's perfect take on the stone classic "Lets Get Lost" – plus titles that include "Just Friends", "Grey December", "I Remember You", "Long Ago & Far Away", "Someone To Watch Over Me", "I Wish I Knew", and "Daybreak". CD

A real killer from Gato Barbieri – part of an excellent run of early 70s sessions for the Flying Dutchman label! The album was recorded live, and it's one of those real cookers that have him sounding a heck of a lot like Pharoah Sanders – blowing with these sharp, soulful tones – and really stretching out in this amazingly spiritual way – quite different than some of his more mainstream playing in later years, and his freer sounds of the 60s. The group features Pretty Purdie on drums, Sonny Morgan and Na-Na on percussion, Chuck Rainey on bass, and Lonnie Liston Smith on piano – and Smith lays out these modal spiraling lines that really work wonders with a groove – and Gato solos over them in searing ripping blasts of sound, never going too far out, but hitting that great soulful mode that made Sanders' best work so great. Titles include "El Pampero", "Mi Buenos Aires Querido", and "El Arreiro" – and all tracks are long. LP, Vinyl record album

An early 70s killer from Ray – recorded right in the same era as most of his best albums! The feel here is strongly in the salsa mode – as Ray steps effortlessly from the Latin Soul era into a whole new decade of musical magic. And like the best of his 60s work, Ray's salsa cooks at a level that's far hotter than most of his contemporaries – with lots and lots of incredibly tight percussion, impeccable instrumentation, and even a more soulful approach to the vocals than usual. The album's got a short Latin soul groover called "Together", which has tight bass and a very catchy lyric; an extended Latin jazz version of "Tin Tin Deo", with some incredible piano that goes way way out over the groove; and plenty of other great Latin numbers, like "Invitacion Al Son", "Vive Y Vacila", "De Donde Vengo", and "Hipocresia y Falsedad". LP, Vinyl record album

An early 70s killer from Ray – recorded right in the same era as most of his best albums! The feel here is strongly in the salsa mode – as Ray steps effortlessly from the Latin Soul era into a whole new decade of musical magic. And like the best of his 60s work, Ray's salsa cooks at a level that's far hotter than most of his contemporaries – with lots and lots of incredibly tight percussion, impeccable instrumentation, and even a more soulful approach to the vocals than usual. The album's got a short Latin soul groover called "Together", which has tight bass and a very catchy lyric; an extended Latin jazz version of "Tin Tin Deo", with some incredible piano that goes way way out over the groove; and plenty of other great Latin numbers, like "Invitacion Al Son", "Vive Y Vacila", "De Donde Vengo", and "Hipocresia y Falsedad". LP, Vinyl record album

Sweetly jazzy soul from George Benson – a key classic from his great run at Warner Brothers Records, and the kind of record that George did better than anyone else at the time! Back in the 60s, we'd never have guessed that Benson's sweetly crackling vocals would dominate popular jazz more than his great guitar work – but hearing George here, it's clear that his soul work could easily outshine his guitar, especially when set up in a package like this! Atlantic soul maestro Arif Mardin produced, and as with his Chaka Khan productions for Warner at the time, he gives Benson a clean, clear modern style that's certainly pop, but also a lot less cluttered and clunky than modes used with other artists at the time. George is mostly on the vocal tip for the set, and Kashif helps out on one track – no surprise, given that Kashif was soon to walk down the path that Benson had started with his first few vocal albums in the 70s. Titles include "Love Will Come Again", "Use Me", "Late At Night", "In Search Of A Dream", "Lady Love Me", "In Your Eyes", and "Never Too Far To Fall". LP, Vinyl record album

Killer grooves from Black Ivory – a trio who've really come a long way here since their roots – stepping out with proud, soulful tones that are a perfect fit for the upbeat grooves of the set! There's still a touch of fragile harmonies at times – but overall, the group have a much more mature, adult vibe – set to tight late 70s club arrangements from Patrick Adams and Leroy Burgess – both of whom stay far away from any mainstream disco cliches, and really hit a sweet underground vibe for the set! Titles include the classic club track "Mainline", plus "Peace & Harmony", "Get Down (Comin' Down)", "You Turned My Whole World Around", and "Rest Inside My Love". LP, Vinyl record album

An incredible record from Bobby Blue Bland – and quite possibly the greatest one he ever made! The set's got an amazing something special that's unlike most other material of the time – a bit blues, but a lot of soul too – still with some echoes of R&B in the jazzier charts used for the backdrop, but presented with a rock-solid style that definitely points the way towards many sounds and styles to come in the 60s. And although Bland recorded many of these tracks as separate singles, there's a way they're put together here that makes the whole thing sound completely marvelous together – a really well-conceived track list that shows that Bobby's an even greater artist in the space of a full record. The arrangements are perfect, and Bobby's rough soulful voice is blended in this amazing way with killer horn arrangements that are far more sophisticated than most stuff that ever came after this, and which never get in the way, but only back up his deep emotion. The album's a motherlode of classics by the man, with gems that include "Two Steps From The Blues", "Cry Cry Cry", "I Don't Want No Woman", "I'm Not Ashamed", "Don't Cry No More", "Lead Me On", and "I Pity The Fool". And hell, even his version of "St James Infirmary" is pretty wonderful – something we never thought we'd say about that song. CD

A rare one from Ghanaian legend Gyedu Blay Ambolley – fully in control of a far-reaching funky trip with his Zantoda Mark III group! Control carries on with the most treasured aspects of Ambolley's mid 70s work – the raw percussion, punchy horns and charismatic vocals – but it's tripped out in really cool ways with the addition of some spacey keys and synth. There's a lot to be said for how elegantly the funky Ghana soul instrumentation and spiritual lyricism blend with bubbling spacey touches, making this his most unique effort in that respect, but it's still funk and soul to the core. Includes "Control", "Woye De Adofo", "Don't Go" and "Mercy Kae Dabi" (both with Eddie Jackson singing), "Take Am Soul" and "The Message (God Is Love)". CD

An incredibly majestic project – and a record that matches its mighty spirit with an equally great set of grooves! Blaze put together the album to benefit the Lifebeat AIDS charity – and they've got help from a tremendous assemblage of underground club talents – including Barbara Tucker, Ultra Nate, Arnold Jarvis, Byron Stingly, Joi Cardwell, Michell Weeks, and others – all working with Blaze as Underground Dance Artists United For Life! The set kicks off with the anthemic "Keep Hope Alive" track – done in ensemble fashion, almost like the classic Philly All Stars recording of the 70s. That cut resurfaces throughout the set, as individual artists step forth with key tracks of their own as well – so that the album features a few takes on the "Keep Hope Alive" theme, plus cuts that include "We Are One" by Blaze, "Spread Love" by Byron Stingily, "Most Precious Love" by Barbara Tucker, "Hiya Luv" by Kenny Bobien, "Be Yourself" by Joi Cardwell, "A Wonderful Place" by Ultra Nate, and "Make The Time" by Arnold Jarvis. Plus, expanded package features a bonus CD with 8 more tracks – including "Not Far Away (Shrine voc mix)" by Blaze, "What Makes The World Go Round" by Stephanie Cooke, "Hiya Luv (Phil Hooton rmx)" by Kenny Bobien, "A Wonderful Place (Fanatix rmx)" by Ultra Nate, "Make The Time (extended)" by Arnold Jarvis, and "Keep Hope Alive (Shrine voc mix)". CD

A pair of 80s albums from saxophonist Arthur Blythe – back to back in a single set! Da Da is a set that mixes some of the sharper edges of Blythe's earlier records with a few more contemporary touches – but always at a level that still has the reedman standing far from the mainstream! The core group here features Olu Dara on trumpet, Cecil McBee on bass, John Hicks on piano, and Bobby Battle on drums – and on the acoustic tracks, there's some great energy between them that soars with a soulful spirit birthed in the loft jazz years, maybe swung a bit straighter than before. A few other tunes add in some extra elements – an electric bass on one number, some light strings on another – but the core of the album still has a magnificent focus on that tone that Blythe had only perfected even more on records like this, especially on the more laidback numbers, which come as a real surprise, and reflect a ballad style we might not have guessed in the early days. Titles include "Odessa", "Esquinas", "After Paris", "Crescent", and "Break Time". Next up is Basic Blythe – not exactly basic work from Arthur Blythe, as the set features an added string ensemble too – but a record that certainly has the saxophonist really hitting a whole new level of genius! There's a great core group here – with John Hicks on piano, Anthony Cox on bass, and Bobby Battle on drums – and the strings are added in around the edges, never getting to much in the way of the combo energy, but also fleshing out the sound with this beautiful richness that only seems to enhance the sharp tone of Arthur's alto sax! The arrangements are great, too – hardly the usual "with strings" material, and instead very creative – with this mix of soul and sophistication that reminds us a bit of the Bill Lee scores for early Spike Lee films, but even longer and with the key addition of Blythe in the lead. Titles include "Lenox Avenue Breakdown", "Faceless Woman", "Ruby My Dear", "Heart To Heart", and "As Of Yet". CD

David Bowie at his most sinister for the 70s – a landmark set that combines the harder rocking sound of the Ziggy Stardust years with the more sophisticated theatrics of Aladdin Sane – in a style that features some of the darkest, most political work of Bowie's career! There's a depth to the record that goes way beyond the silly, sensational cover image – and there's also a sonic complexity that's wonderful too – a songs slide into each other with a deftness that never fails to amaze us! The album grew out of a failed project based around George Orwell's famous book 1984 – but the rights to that story were denied by the family – so Bowie went in his own directly, and honestly came up with work that was far better than if he'd done any sort of slavish reading of the novel (Rick Wakeman famously failed in that territory – and the Eurhythmics fared just slightly better.) The whole thing's great, and titles include "Diamond Dogs", "1984", "Sweet Thing", "Candidate", "Rebel Rebel", and "Big Brother". LP, Vinyl record album

You might know Tony Branker from his more recent work – issued under the name of Anthony Branker, and often quite far-reaching in scope – and here, even at a young age, the trumpeter's already got a heck of an amazing vision – working here in a beautiful set of all-original music, carried out with a very soulful sound! The lineup has fantastic electric piano from Gary Monheit – who never overwhelms, but kind of carves out these blocks to shape the rhythms – while a young Stanley Jordan plays guitar, and the set sparkles with horn work from Branker and saxophonist Glenn Cashman! The tracks are loose and fluid – and the strong, soulful mix of trumpet and electric piano reminds us of Freddie Hubbard on early CTI – but with a more personal, indie spirit overall. Titles include "Light Me Higher", "Black On Black", "Do Dat", "Circles", "You Can't Play In The Rain", and "A Dream Deferred". LP, Vinyl record album

Free bursts of loose, fuzzy and atmosheric sounds from Brast Burn – a moody mix of far reaching musicianship and organic soundcraft from the mid 70s Japanese underground scenes. Debon features a pair of long pieces, "Debon Part 1" and "Debon Part 2" each running a bit north of the 20 minute mark. Part 1 starts very sparely, with some wavering sounds that build into some squeely guitar effects before bursting open with hypnotic percussion and more a more groove based dynamic. Part 2 picks up right where Part 1 leaves off, with looser, more organic atmosphere and strange bits of vocal and gets more electric as it runs along. Really cool, timeless underground sounds. CD

Wonderful work from Anthony Braxton – an album that has him playing straight ahead jazz – but at a time when he was also making some of his most complex recordings of the 70s! The approach here is sublime – as Braxton's reputation has ears already anticipating some far-out playing, but then marvel at his restraint – his care for keeping alto and bass clarinet work inside a straight jazz tradition, yet always hinting at the modern inflections he can bring to his music! Tunes are almost all jazz standards, blown beautifully – with a tone that's crisp, cool, and very inviting – surprisingly soulful, and never cold at all – matched well with the rhythm trio of Tete Montoliu on piano, Niels Henning Orsted Pedersen on bass, and Albert Tootie Heath on drums. Titles include "Goodbye Porkpie Hat", "Ornithology", and "Marshmallow". CD

A killer debut from Brick – the start of a massive run at the end of the 70s, a time when the group was easily one of the biggest acts to come out of the up-and-coming Atlanta scene! Like some other Atlanta acts of the time, Brick had a way of fusing older funky soul on a tighter modern groove – coming up with a sound that was nice and lean – perfect for these key transitional years of funk – with influences that were felt for years, in places as far away as the west coast! Case in point is the album's classic "Dazz" – one of those cuts that never gets old – nestled nicely in a lineup that also includes "Music Matic", "Here We Come", "Good High", "That's What It's All About", "Brick City", and "Sister Twister". LP, Vinyl record album

A killer debut from Brick – the start of a massive run at the end of the 70s, a time when the group was easily one of the biggest acts to come out of the up-and-coming Atlanta scene! Like some other Atlanta acts of the time, Brick had a way of fusing older funky soul on a tighter modern groove – coming up with a sound that was nice and lean – perfect for these key transitional years of funk – with influences that were felt for years, in places as far away as the west coast! Case in point is the album's classic "Dazz" – one of those cuts that never gets old – nestled nicely in a lineup that also includes "Music Matic", "Here We Come", "Good High", "That's What It's All About", "Brick City", and "Sister Twister". Includes two bonus tracks "Dazz (Dazz Disco mix)" & "That's What It's All About (single version)". CD

One of the most ambitious projects ever from vibist Gary Burton – an extended piece written by Carla Bley – and billed as "A Dark Opera Without Words"! The work has a feel that's much more fluid than opera, though – and is a great instrumental outing that not only features Gary's vibes at their youthful best, with support from his quartet – but which also includes extra work from Steve Lacy on soprano sax, Gato Barbieri on tenor, and Carla Bley herself on piano. The music is never too far out, but with angular tones and strange time changes that mark the record as being quite different from Gary's other sides for RCA. It also makes the record one of his best, too – as the set has that wonderfully fresh sound that you get from early work by Bley – never too silly, and with a serious approach to composition that also never loses sight of its roots in jazz. Titles include "The New Funeral March", "Silent Spring", "Mother Of The Dead Man", "Death Rolls", and "The New National Anthem". LP, Vinyl record album

Billed as "A Dark Opera Without Words", A Genuine Tong Funeral is an extended piece written by Carla Bley, and performed by the Burton quartet with help from a larger group that includes Steve Lacy, Gato Barbieri, Michael Mantler, and Bley herself. As such, the album's probably the most ambitious one that Burton ever recorded during the 60s – never too far out, but with angular tones and strange time changes that mark the record as being quite different from his other sides for RCA. It also makes it one of his best, too – as the record has that wonderfully fresh sound that you get from early work by Bley, never too silly, and with a serious approach to composition that also never loses sight of its roots in jazz. Titles include "The New Funeral March", "Silent Spring", "Mother Of The Dead Man", "Death Rolls", and "The New National Anthem". Also includes five tracks from "Lofty Fake Anagram". CD

The second of two early LPs that the Byrd and Gryce team cut for Columbia – and the more obscure of the two by far! This one features the group's groundbreaking format – a mixture of hardbop and modern jazz, always swinging, but angularly carved, with striking tones and colors that recall the best mid 50s Mingus. The difference, though, is that 4 tracks also feature some vocals by Jackie Paris, a hip singer who's at his best here – vocalizing with way better material than he often got on his own albums, singing on the tracks "Now Don't You Know", "Elgy", "Early Byrd", and "Early Morning Blues". The rest of the group features Wynton Kelly, Art Taylor, and Wendell Marshall – but more than anything else, it's Gryce's unbelievable tone on alto that really makes the record cook. Why couldn't he have played like this forever? We love it to death! Other tracks include "Satellite", "Social Call", and "Steppin Out". LP, Vinyl record album

One of the hippest funky jazz combos of the 70s – stepping out here in their amazing debut for Cobblestone records! Catalyst had a groove that was unlike most of their contemporaries – a sound that was often jazzier than some of the tighter funk artists on labels like Kudu or Prestige, with some deeply spiritual leanings in the solos – but also a style that was still pretty tight and focused, not as far out as some of the headier groups on the Strata East label. There's loads of great choppy rhythms and tight-edged grooves on the record – thanks to Fender Rhodes from Eddie Green, reeds from Odeon Pope, bass from Al Johnson, and drums and percussion from Sherman Ferguson. Skip Drinkwater produced the session at Sigma Sound, and it's definitely got some of his hallmark appreciation of rhythm in the mix – on titles that include "Ain't It The Truth", "New Found Truths", "East", "Catalyst Is Coming", "Jabali", and "Salaam". LP, Vinyl record album

One of the few key recordings issued by baritone saxophonist Serge Chaloff before his untimely early death – a tremendous little record that really helped redefine the place of his instrument in jazz! The album is one of a number produced by Stan Kenton for Capitol at the time, but it's far from the cooler jazz outings of other "Kenton Presents" sessions – a real Boston Blow up that has Serge standing starkly out front on the baritone, hitting some tremendous notes that show a command and dexterity on his instrument that few other players could match! Also noteworthy is the presence of the great Boots Mussulli on alto sax – a sharp-edge player with a lot of Charlie Mariano touches, and an artist who's rarely heard in a setting so stripped-down as this. Other artists include Herb Pomeroy on trumpet, Ray Santisi on piano, and Jimmy Zitano on drums – and titles include the original numbers "Kip", "Unison", "Bob The Robin", and "Sergical" – plus versions of "What's New", "Yesterday's Gardenias", and Jaki Byard's "Diane's Melody". LP, Vinyl record album

A pretty amazing effort from country rock progenitor Gene Clark! This one blends breezy songcraft that's not too far off from his previous couple of great solo albums – rustic harmonies and memorable lyricism flavored by acoustic guitars – with far more deft studio touches such as synths and densely layered backing vocals. There really was no other album in '74 like No Other, and initially it had the poor reception to show for it! It has a somewhat laidback and laconic vibe overall – infused with that Cali country rock groove that Gene helped invent – yet the production is richly produced on an epic scale, an effort that seems to seek flat out perfection. A couple years later, California fellow travelers would utilize a similar approach and sell LPs by the ton. Here's hoping those groups bought Gene a dinner or two to thank him for the inspiration! Includes "Life's Greatest Fool", "Silver Raven", "No Other", "Some Misunderstanding", "The True One", "Lady Of The North", "Strength Of Strings" and "From A Silver Phial". LP, Vinyl record album

A pretty amazing effort from country rock progenitor Gene Clark! This one blends breezy songcraft that's not too far off from his previous couple of great solo albums – rustic harmonies and memorable lyricism flavored by acoustic guitars – with far more deft studio touches such as synths and densely layered backing vocals. There really was no other album in '74 like No Other, and initially it had the poor reception to show for it! It has a somewhat laidback and laconic vibe overall – infused with that Cali country rock groove that Gene helped invent – yet the production is richly produced on an epic scale, an effort that seems to seek flat out perfection. A couple years later, California fellow travelers would utilize a similar approach and sell LPs by the ton. Here's hoping those groups bought Gene a dinner or two to thank him for the inspiration! Includes "Life's Greatest Fool", "Silver Raven", "No Other", "Some Misunderstanding", "The True One", "Lady Of The North", "Strength Of Strings" and "From A Silver Phial". CD includes 7 bonus tracks. CD

Easily the hippest of the Clarke-Boland Big Band Records from the classic years – a set of hard grooving tracks that really pushes the envelope of their style! There's a few elements here that are different than usual – such as the presence of electric piano on a few tracks, which creates a very new sound for the group, the presence of some exotic jazz influences (perhaps borrowed from the MPS Jazz Meets The World series), and the use of some edgier compositions on the set, including work by late 60s European free-thinkers, like Eddie Louiss, Albert Mangelsdorff, and John Surman. The reed work is really incredible in this setting – and is handled by Sahib Shihab, Ronnie Scott, Billy Mitchell, and Derek Humble – all of whom seem to blow with inspiration from Surman – using tones that are far more out there than usual. Titles include "Exorcisme", "Sakara", "Our Kind Of Sabi", "Osaka Calling", "Wintersong", and "Astrorama". LP, Vinyl record album

A pure statement of being and essence – and one of John Coltrane's spiritual masterpieces from the 60s! The 1965 recording was one of Trane's most adventurous so far – as it featured just one album-length track, building up out of relatively free expressions from Coltrane in the studio – initially in the spirit of Love Supreme, but much sharper-edged and unbridled overall – as if the meditative spirit of the previous recording had unlocked a sense of freedom that refused to be tied down to simple structures! The group is great – and features Pharoah Sanders on tenor, Donald Garrett on bass clarinet, McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums – plus a bit of flute and percussion from Joe Brazil. The playing is much freer than on other albums of the time, but also has some introspective spiritual moments – clearly inspired by the Love Supreme recording, but taken a shade outside as well! LP, Vinyl record album

The amazing first full length set of Comet Is Coming – one of the boldest statements from the London jazz scene in recent years – and a brilliant blend of live jazz instrumentation and electronics! Shabaka Hutchings – as King Shabaka – is in the group on tenor, which he blows with this strongly spiritual quality – really reaching out as this organic core amidst some of the spacier, noisier touches – all of which never get too far-out, and which are just balanced enough to effect the cosmic journey that's always been the group's promise! Drums are nice and heavy too, and the whole thing has this fantastic vibe that's as immediately appealing as it is completely unique – which you'll hear on tunes that include "Space Carnival", "The Prophecy", "Channel The Spirits", "Deep Within The Engine Deck", and "Journey Through The Asteroid Belt". LP, Vinyl record album

The most mindblowing work we've ever heard from guitarist Amancio D'Silva – a really freewheeling blend of jazz and Indian music, and a set that goes far beyond most of his other albums! The album definitely lives up to the dream sequence promised by the title – as it features one long track that spins out in a beautiful blend of tablas, sitar, flute, percussion, violin, and Amancio's own great electric guitar! The leader crafts these trippy solos that are a bit like the work of Gabor Szabo, but even more open-ended and exotic – and the group also features some great work on sax from Alan Branscombe, plus violin from John Mayer – who'd worked on previous experiments of this nature with Joe Harriott. Despite the length of the track, the record is never over-indulgent or repetitive at all – as D'Silva constantly shifts the mood and the sounds – creating this wonderful interplay that really makes for a scenic richness throughout – an evocative journey in music that holds us completely rapt all the way through. LP, Vinyl record album

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

A record that ended up in more than a few 70s record collections because of its sexy cover image – but a set that's even better when you get down into the grooves – thanks to massively funky work from Crown Heights Affair! The group are wonderful here – upbeat and quick-stepping, but still filled with razor-sharp funk energy – at a level that's similar to Brass Construction or BT Express – with no fluff at all, and none of the kind of too-extended sloppy musicianship you were getting from the studio disco groups. The whole thing's got a rock-solid vibe that was first forged in the funky 45 generation, then kicked up for the 12" years – including the group's harmony vocals, which still have a great indie vibe. Titles include "Sexy Ways", "Dancin", "Far Out", "Music Is The World", "Love Me", and "Searching For Love". Also includes the nice funky funky "French Way", which has some great moogy parts! CD features bonus mixes too! CD

Dark genius from the always-amazing Miles Davis Quintet of the 60s – a set that's a bit more subtle than some of the group's other efforts, but no less powerful – and virtually a blueprint for countless changes to come in jazz during the next few decades! The interplay of Davis' trumpet, Wayne Shorter's tenor, and Herbie Hancock's piano is worth the price of admission alone – a force that seems to flow of its own direction, pulled three ways equally, but always emerging as a sound greater than its parts. And adding in the subtle pulse of Ron Carter on bass and nearly melodic drums of Tony Williams, the sound is even more incredible – a well-crafted and evocative sound that's far more than jazz! Titles include versions of Herbie's "Riot" and "Madness", Shorter's "Nefertiti" and "Pinocchio", and Williams' "Hand Jive". Plus, the CD reissue features 4 bonus alternate takes from the original session! CD

The complete recordings of a legendary live cycle of shows in Stockholm from 1960 – material that was previously issued on two different 2LP sets during the album era, now brought together here with bonus tracks too! The first third of the set features incredible work from the team of Miles Davis and John Coltrane – working together in space that's very open, and far more exploratory than their studio work of the late 50s – maybe at a level that really shows the impact that Coltrane's growth was having on the solo approach of Davis! The key rhythm trio keeps things swinging – Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – which almost seems to allow the horn players even more freedom. The second two thirds of the set are equally striking, but in a very different way – as they feature the great Sonny Stitt, blowing both alto and tenor with Miles' group – a choice that's maybe a bit surprising, but equally wonderful too – a Stitt brings the sound maybe back to a bop core, but also seems to really get a chance to show off some of those modern currents that he had to soft-pedal on his albums for Roost. Titles with Coltrane include "So What", "On Green Dolphin Street", "All Blues/Theme", "Walkin/Theme", and "Fran Dance" – and titles with Stitt include "Autumn Leaves/Theme", "Walkin", "All Of You", "June Night", "Stardust", "Lover Man", "If I Were A Bell", "No Blues/Theme", "Softly As In A Mornin Sunrise", and "So What". CD

Two LP's on one CD. The first set is a later one for Vee Jay, and it brings together half of the Jazz Messengers with a batch of west coast players – in a groove that wonderfully mixes together different traditions and rhythms in jazz – and which steps out with a sound that's far more than the sum of its parts! Art Blakey, Lee Morgan, and Curtis Fuller join a group headed by Buddy De Franco, and featuring Victor Feldman on piano and vibes, plus Victor Sproles on bass and Freddie Hill on trumpet. The sound of the group is quite unusual – and a lot lighter than you'd guess – giving Buddy plenty of room to solo in a breezy style that's grown tremendously since his 50s recordings – pushed along by some heavier soul from Art and the group. Titles include "Rain Dance", "Blues Bag", "Twelve Tone Blues", "Kush", and "Cousin Mary". The second album's one of the few ever cut as a leader by Louis Hayes – a very soulful talent who's probably best known for his work with Horace Silver and Cannonball Adderley during the late 50s. Hayes' has a wonderful approach to the record – borrowing bits of the exoticism of his work with Silver, and bits of the harder soul jazz from Cannonball's group – all of which is played to perfection by a tight quintet that includes Yusef Lateef, Sam Jones, Barry Harris, and Nat Adderley. Tracks are all originals by the group, and titles include "Hazing", "Rip De Boom", "Teef", and "Sassy Ann". CD

The 3rd album by The Dining Rooms – and the best so far! These guys have really matured from earlier outings – moving into a sophisticated realm of downtempo soundscapes crafted with a great deal of care, and which are put together with a lot more than simple tricks and gimmicks. There's loads of really solid tunes in here – sly numbers that sneak up on you with a subtle approach to the craft, gently burrowing in and taking root – somehow making the album that much more compelling overall. A number of tracks have some wonderfully languid vocals, some male and some female – and these tunes fall nicely next to instrumental numbers with a very evocative approach. Titles include "Anima Per Amarti", "Tunnel", "La Citta Nuda", "Fluxus", "Flamenco Sketches", "Dreamy Smiles", "You", "African Loungesters", and a nice cover of Sun Ra's "Astro Black"! CD

Really great work from an overlooked teen trio – a group that featured one of Dean Martin's sons (Dino), the son of Desi Arnaz and Lucille Ball (Desi), and the non-celebrity Billy Hinsche! The group aren't the tip top of the heap, vocal-wise – but they recorded all this material for Warner/Reprise during the glory days of the label – which means that they have top studio talent throughout, from the production at the top to the best studio musicians at the bottom! The trio start off by covering a lot of work from their contemporaries – but definitely grow a fair bit in a few short years – moving into cooler, groovier material – and really getting their harmonies right in the process! The package features a whopping 32 tracks that include "My What A Shame", "Pretty Flamingo", "Two In The Afternoon", "Good Luck Best Wishes To You", "General Outline", "The Inside Outside Caspar Milquetoast Eskimo Flash", "I Hope She's There Tonight", "A Certain Sound", "Lady Love", "Tie Me Down", "The Rebel Kind", "Superman", "She's So Far Out She's In", "Look Out Girls", and "I'm A Fool". CD

An addendum to DJ Vadim's Sound Catcher LP – featuring new tracks, remixes, live material and alternate versions – and effortlessly blending atmosheric hip hop beatcraft, tripped out reggae, and spacey soul as cohesively as the main album! DJ Vadim does a far better job with his Sound Catcher tracks in blending disparate elements than a few of the mainstream superstar producers did with their '07 LPs, and even his Extras are more appealing than the A-material of lesser producer/DJs! 16 tracks in all: "Raise Your Glass" feat Silent Knight, "Quand Vient La Nuit" feat Bunzen, Yarah Brave & Blu Rum 13, "I Can Never" feat Emo, "Countdown" feat Raasahan Ahmad, "Saskatoon" feat Youngblood Brass Band, "Got To Rock" (Griffi rmx) feat Zion, "Za Ba Day" feat Sena and more. Enhanced CD features the bonus video for "Black Is The Night". CD

Searing live work from Eric Dolphy – part of a series of recordings that set a whole new standard for live jazz recording! The record features Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. The concert was one of Little's last (and greatest) recordings – sometimes billed as a "memorial", even though he was still alive when it was done – and titles on this volume include "Fire Waltz", "Bee Vamp", and "The Prophet". CD

Searing live work from Eric Dolphy – part of a series of recordings that set a whole new standard for live jazz recording! The record features Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. The concert was one of Little's last (and greatest) recordings – sometimes billed as a "memorial", even though he was still alive when it was done – and titles on this volume include "Aggression" and "Like Someone In Love". CD

An especially rare live set from Eric Dolphy – recorded on an early trip to Sweden in 1961, and featuring some especially long tunes that really let him open up! Dolphy's working here with a local trio for backup – Rony Johansson on piano, Kurt Lindgren on bass, and Rune Carlsson on drums – but the real focus is on his long and freely creative solos on alto, flute, and bass clarinet. His tone has a very sharp edge – a sound that's never too far out, but which has all the fire of his best recordings for Prestige during this period – and it's especially wonderful to hear the way he transforms familiar numbers with this energy. Titles include "I'll Remember April", "When Lights Are Low", and "Out Of Nowhere" – plus an interview with Dolphy, recorded by Claes Dahlgren in 1962. LP, Vinyl record album

Part 3 to the Five Spot recordings from Eric Dolphy – issued here as a "memorial" to Booker Little, even though Little was still alive for the recording! The album features especially searing work from Dolphy, and was part of a series of recordings that set a whole new standard for live jazz recording. The record features Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. The concert was one of Little's last (and greatest) recordings – and titles include "Number Eight" and "Booker's Waltz". CD

Dave Edmunds in the 80s – still very much in charge of that special voice that made him a standout rocker from the UK scene the decade before – but also doing plenty to change with the times! Dave's vocals and famous guitar twang are wrapped around the kind of catchy tunes he always did so well – and the production, handled with help from Jeff Lynne, has some electro touches and compression around the vocals – elements that work surprisingly well, as in Lynne's own musical shift during the decade! There's plenty of classic Edmunds moments throughout – and titles include "Busted Loose", "Breaking Out", "Far Away", "How Could I Be So Wrong", "Can't Get Enough", and "Something About You". LP, Vinyl record album

Kurt Elling turns his talents towards the music of the Brill Building – completely transforming a host of pop and soul classics in the process! The songs are familiar, but the music's got all the careful balance of some of Elling's best records in recent years – definitely jazz all the way through, with sparkling arrangements that really work beautifully with Kurt's unique vocals – in ways that push these tunes way past their roots, and show how strongly Elling can bring new feelings out of a song – even with numbers that are much more iconic than his usual fare. Titles include "So Far Away", "Shoppin For Clothes", "A House Is Not A Home", "Pleasant Valley Sunday", "On Broadway", "Come Fly With Me", and "You Send Me". CD

One of the greatest female soul groups of all time – served up here in a career-spanning anthology that finally gets at the full range of their talents! The tracks here start in the trio's early years on Stax Records, move through their sublime 70s hitmaking years at Columbia, with lots of help from Maurice White and Earth Wind & Fire – and also move onto include some rare Motown and Red Label recordings too! The vocals are sublime throughout – that rich style of coming together that the girls first forged in their gospel work, then unleashed to the soul world in work that was far more sophisticated and meaningful than the usual girl trio mode – which could sometimes be a throwaway approach to hide the weakness in each others vocals. 2CD set features a big 24 page booklet of notes – and includes 40 tracks in all – including "I Should Be Dancing", "Smile", "Turn It Out", "Blessed", "Are You Through With My Heart", "Now That I Know", "Changes", "You're The One", "Miss Your Love", "All Night Alright", "The Best Part Of A Love Affair", "Blind Alley", "So I Can Love You", "Flowers", "Baby I'm Through", "From Toys To Boys", "You're The Best", "Don't Ask My Neighbors", "Love Vibes", "We Go Through Changes", "Key To My Heart", "Stealing Love", "How'd I Know That Love Would Slip Away", "Walking The Line", "Special Part", and "Boogie Wonderland". CD

A really amazing record – part improvised music, part electronics – with a sound that's every bit as far-out as the title implies! Some tunes have a vibe that's like Sun Ra on keyboards, or maybe Moondog on percussion (on the acoustic tunes) – while others have more abstract, sonorous textures that feel borrowed from musique concrete! There's no players listed, but the sound is amazing – and titles include "Sounds On Venus", "Spherical Exotic", "Thunder & Lightning", "Dance Of The Unknown", "Work In Space", "Saturn", "Ghostly Drumming", "swarm Of Insects", "Sparkling Particles", "Konjugationen", and "Hectic". LP, Vinyl record album