... LP, Vinyl record album

... LP, Vinyl record album

... LP, Vinyl record album

... LP, Vinyl record album

... LP, Vinyl record album

... LP, Vinyl record album

... LP, Vinyl record album

... LP, Vinyl record album

... LP, Vinyl record album

... LP, Vinyl record album

... LP, Vinyl record album

The woman on the cover has a very ancient look, but the music on the set is from one of the more important British indie labels at the start of the 70s – a key family of imprints that released some of the most striking material of the acid folk generation! The name "Folk Heritage" might make you think that the sounds here are all very traditional – but they're much more in tune with the new advances made in the generation of Fairport Convention and Pentangle – that key moment when present and ancient became one, often with a sinister vibe that kept a lot of the music very far from the mainstream! And of all the companies putting out work at the time, the Folk Heritage labels were probably the most striking – really committed to music that both supports the new spirit that was in the air, and the sort of production that really focuses on the singers and instrumentation in the best way possible. There's a lot more acoustic instrumentation here than on bigger label records from the movement at the time – and the rarity of the original albums makes this 3CD set a long-overdue deep look at this legacy of music – with 68 tracks in all, very detailed notes, and work by artists who include The Harvesters, Rod Neep, Oddsocks, Parke, Paul & Glen, Christie Hennessy, Music Box, Folkal Point, Blue Horizon, Janet Jones, The Yardarm, Geoff Smedley, Drowsy Maggie, and many others. The whole thing is wonderfully moody – not far from the sound of Wicker Man! CD

British folk music got really weird and wonderful at the end of the 60s – light years from the crew cut versions of The Kingston Trio, or the twangy modes of Bob Dylan wannabees – but also very different from the more rockish directions that American folk acts were taking at the time! If anything, the British artists showed an even deeper commitment to acoustic modes – and far more ancient ones than American groups had access too – a thousand year legacy of British Isles music, but reworked into an often-trippy style would find more famous iterations in groups from Fairport Convention through Current 93, and even in the Wicker Man soundtrack as well! Most of the music here is much more obscure than those references – groups that were big in the UK, but maybe didn't have as much of an impact over here during the period – which makes this 63 track box set a real treasure trove of discovery – filled with many tunes we'd never heard before, and put together in a very special way. Titles include "Black Girl" by Mary Anne, "Till The Morning Comes" by Dando Shaft, "Roses For Columbus" by Mark Frhy, "Love Is A Funny Thing" by Spyrogyra, "Come All You Travellers" by Wight, "Willow's Song" by Nagnet, "Cruious Crystals Of Unusual Purity" by Bridget St John, "Prisoners Victims Strangers Friends" by Paper Bubble, "Gabilan" by Duncan Browne, "Meeting By The Moonlight Mill" by Dry Heart, "Silence Returns" by Beau, "Me & My Kite" by Fuschia, "The Colour Is Blue" by Country Sun, "Welcome To The Citadel" by Marc Brierley, "Garden Song (demo)" by Bill Fay, and "Upon Reflection" by Heron. CD

An amazing legacy in music – from a musician who sometimes doesn't always get his due! Davy Graham was part of the same 60s UK scene that gave the world Bert Jansch, John Renbourn, John Martyn, and other acoustic experimentalists – and at some level, he may well be even greater than all three of those mighty references – as he's got a unique style that blends acoustic guitar work with elements of jazz, unusual phrasing, and a way of spinning out a tune that keeps all of Graham's records filled with surprises throughout! Davy also sings as well – sometimes not often, but always with this really heartfelt style that's as compelling as his guitar – different than folk or folk rock, maybe again informed with a bit of jazz – but delivered in a mode that's all his own. A few of Graham's key records have been reissued over the years, but this massive box set tops them all – by serving up 162 tracks in a huge box with a big booklet of notes – the complete albums The Guitar Player, Folk Blues & Beyond, Folk Roots New Routes, Midnight Man, Large As Life, Hat, The Holly Kaleidoscope, and Godington Boundary – plus a full never-issued live recording from 1967, early pre-album recordings, and a number of bonus tracks too. CD

The incredible debut of The Pogues – and a set that somehow became a runaway hit and the start of a fantastic legacy – even during the post-punk years at a time when everyone had thought that interest in older folk styles was dead! And yet, although The Pogues work in the world of Irish traditional music, they're hardly another acoustic band – as Shane McGowan came to this territory through work in a punk band, and was able to reintroduce an edge to the work that had really disappeared during the folk revival boom of the 60s – reworking older acoustic instrumentation with a new sense of frenzy and urgency, all topped by his amazingly raw vocal style – which really gets at the heart of the lyrics! You might know some of these tunes from older records by The Clancy Brothers and other folk acts, but the sound here is completely different – and further transformed by an amazing sense of sound in the production – all those new sonic pathways that were learned during the punk years, helping here to further open up unique territory for the record. Titles include "Dark Streets Of London", "Streams Of Whiskey", "Transmetropolitan", "Waxie's Dargle", "The Auld Triangle", "Dingle Regatta", and "Poor Paddy". 2CD edition features six more bonus tracks that were all b-sides of singles – including "The Leaving Of Liverpool", "Wiskey You're The Devil", "Repeal Of The Licensing Laws", "Muirshin Durkin", and "The Wild Rover" – plus 12 more tracks from John Peel BBC Sessions in 1984. CD

A treasure trove of greatness from British folk rock legend John Renbourn – all of his late 60s solo work, done before moving on to greater fame in Pentangle! First up is There You Go – a rare one from singer Dorris Henderson and future Pentangle founder John Rensbourn! Florida born, LA raised singer Dorris Henderson moved to London in 1965 and was soon singing London's folk clubs, where she met Rensbourn. A solid mix of traditionals and then contemporary folk songs – stripped down and honest takes on "Saly Free And Easy", "Cotton Eyed Joe", "Mr Tamborine Man", "Going To Memphis", Something Lonesome", "Mist On The Mountain" and more. This edition includes bonus tracks from a rare 45 – "Hangman" and "Leaves That Are Green". Next is the self-titled John Renbourn from 1965 – a set that would not only establish John's legacy for years to come, but also have a very strong impact upon the role of the guitar on the British scene too! The album's definitely in a mode that owes something to an American folk legacy – but it also really breaks from the past with unusual phrasings and colorings in Renbourn's guitar – certainly with an ear towards ancient English modes, but also at once very fresh and contemporary – a strong precursor to the waves of new acoustic talents that would flow from the UK a few years later, but maybe even more revolutionary – given that John's mostly just working here with his guitar and voice. Bert Jansch adds guitar to a few tracks – and titles include "Song", "Down On The Barge", "Plainsong", "Judy", "Beth's Blues", "Blue Bones", "Train Tune", "Winter Is Gone", and "Noah & Rabbit". Bert & John is a hell of a collaboration between British legends Bert Jansch and John Renbourn – both working here together to completely redefine the sound of their music for the generation to come! This one album may well hold all the sense of subtle power and possibility that was about to flower in the Brit movement often known as "acid folk" – that reworking of older aesthetics with modern conceptions, and doing so mostly with their work on acoustic guitar – quite a feat, given the stripped-down instrumentation of the set! Bert sings a bit – in that incredible style of his – but the real attraction here is the guitar interplay, which is always fresh, never hokey, neither familiar American folk nor forced singer-songwriter backup material. Titles include a wonderful reworking of Charles Mingus' "Goodbye Pork Pie Hat" – plus "Red's Favourite", "Orlando", "Soho", "Piano Tune", "East Wind", "After The Dance", and "The Time Has Come". Another Monday is maybe the most obscure album in the collection – a set that is mostly instrumental, with some completely fantastic work by Renbourn on guitar – but which also features a bit of guest vocals from singer Jacqui McShee – whose warmer presence next to John really makes for a nice pairing. The album's as powerful as it is subtle, really beautiful in its sense of variety – with titles that include "Buffalo", "One For William", "Lost Lover Blues", "Another Monday", "Day At The Seaside", "Nobody's Fault But Mine", and "Waltz". Watch The Stars is another great collaboration with Dorris Henderson – an American singer, but one who moved to London in the 60s – where she cut this rare gem with guitarist John Renbourn! The album's got a righteous vibe that's hipper than the usual folk set – with some traditional tunes and some contemporary material – recorded with that amazing phrasing that made Renbourn's guitar so distinct right from the start, with lots of those jazzy currents we love so much – and which really fit the creative vocal approach of Henderson! Dorris also plays some autoharp, and there's a bit of bass in the backings – although overall the main focus here is on Renbourn's guitar and Henderson's vocals. Titles include "Come Up Horsey", "God Bless The Child", "Watch The Stars", "30 Days In Jail", "Mosaic Patterns", "Tomorrow Is A Long Time", and "There's Anger In This Land". Sir John A Lot Of is perhaps one of the best-known albums from British guitar legend John Renbourn – as it was issued widely in the US, and kept in print for a surprisingly long time over the years! The approach here is slightly different than Renbourn's previous records – a bit in the image presented by the cover, although with maybe not as slavish a sound – as John just uses the whole thing to go a bit more ancient than before, in ways that echo the time travel that the whole British folk scene was taking as the 70s approached. The tunes are done in ways that are really beautiful – still lots of the incredible guitar work that made Renbourn such a standout on the scene – plus flute from jazzman Ray Warleigh, who's very different here than usual – and spare use of finger cymbals, African drums, and glockenspiel by Terry Cox. Titles include "Morgana", "Transfusion", "The Trees They Do Grow High", "Sweet Potato", "Seven Up", and "White Fishes". 6CD box features all records in original artwork sleeves, with a booklet of notes – and bonus tracks that include "Message To Pretty", "The Waggoner's Lad", "Lucky Thirteen", "Blues Run The Game", "The Wildest Pig In Captivity (alt)", "Can't Keep From Crying", "Transfusion (alt)", and "The Leaves Are Green". CD

Pre-Voidoids and Pre-Ramones hard rock band featuring Marc Bell, aka Marky Ramone – with their self-titled and Hard Attack records – together in a CD set! Dust's 1971 is a mix of pummeling, though accessible rockers and a suprising bluesy and psych folk nod here and there – particular in the slide guitar and pedal steel of Kenny Aarronson. It features a mix of those and pummeling rockers – with drums that are way faster than Marc would play after changing his persona to Marky! Titles include "Stone Woman", "Chasin' Ladies", "Love Me Hard", "From A Dry Camel" and more. The follow up Hard Attack – as the the title indicates – streamlines the approach a bit into more of a straight up hard rocking style. Titles include "Pull Away/So Many Times", "Learning To Die", "All In All", "Ivory", "I Been Thinkin", "How Many Horses", and "Suicide". CD

The incredible debut of The Pogues – and a set that somehow became a runaway hit and the start of a fantastic legacy – even during the post-punk years at a time when everyone had thought that interest in older folk styles was dead! And yet, although The Pogues work in the world of Irish traditional music, they're hardly another acoustic band – as Shane McGowan came to this territory through work in a punk band, and was able to reintroduce an edge to the work that had really disappeared during the folk revival boom of the 60s – reworking older acoustic instrumentation with a new sense of frenzy and urgency, all topped by his amazingly raw vocal style – which really gets at the heart of the lyrics! You might know some of these tunes from older records by The Clancy Brothers and other folk acts, but the sound here is completely different – and further transformed by an amazing sense of sound in the production – all those new sonic pathways that were learned during the punk years, helping here to further open up unique territory for the record. Titles include "Dark Streets Of London", "Streams Of Whiskey", "Transmetropolitan", "Waxie's Dargle", "The Auld Triangle", "Dingle Regatta", and "Poor Paddy". CD features six more bonus tracks that were all b-sides of singles – including "The Leaving Of Liverpool", "Wiskey You're The Devil", "Repeal Of The Licensing Laws", "Muirshin Durkin", and "The Wild Rover". CD

Paul Simon's mid 80s landmark – a record that brought together Simon's unique voice and pop folk songwriting skill with South African, Chicano, zydeco other global musical styles – held together by some of the best songs Simon ever put together! With lesser material, this would feel like the well-intentioned "world music" album by an aging star, but Simon transcends that in a big way with catchy, intelligent songs and expert production. Includes "The Boy In The Bubble", "Graceland", "Diamonds On The Soles Of Her Shoes", "You Can Call Me Al", "Under African Skyes", "All Around The World Or The Myth Of Fingerprints" and more. Includes DVD of Under African Skies. CD

Few folks have made an acoustic guitar and a voice sound as compelling together as Ali Farka Toure – and that's saying a lot, given the huge legacy of folk and blues that preceded his 70s recordings! Toure's clearly aware of that long line of recordings, but finds a way to make music that's completely unique and very much his own – maybe echoing a bit of an American acoustic tradition, but only very slightly – as his Malian inflections are very individual, and maybe even more powerful when thought of in more isolated terms. Two tracks feature a bowed instrument, which adds an eerie level of color – and titles include "Yer Sabou Yerkoy", "Assidou Dondoma", "Remobe", "Yermadine Tiere Kamba", and "Yer Mali Woyo". LP, Vinyl record album

A fantastic document of the lost funk legacy of 70s Japan – music that's often different than the jazz and pop work of the decade that sees greater reissue, and which shows a very strong influence from the American scene! The rhythms here are wonderful – sometimes in the best funky soundtrack mode, other times with maybe even a bit of psych added in – and some of the cuts feature lyrics, either in English or Japanese, also with a very soulful vibe – but much more of an edge than the polished sound of the city pop generation! Titles include "Yumura No Obaba" by Akira Yasuda & Beat Folk, "Jikokeno No Samba" by Kan Mikami, "Singer Lady" by Hatsumi Shibata, "Devil Woman" by Bread & Butter, "I Hope It's Fine" by School Band, "Watashi No Beatles" by Fujio Tokita, "Bad Junky Blues" by Hiroshi Sato, "Theme Of Doberman Cop" by Mieko Hirota, and "The In & Outer Stomp & Shouter" by Sammy with Jiro Inagaki & Soul Media. LP, Vinyl record album

Rare and unheard material from Dylan's career redefining Nashville era – his post Blonde On Blonde Nashville era to be more specific – when he recorded the poetic story song masterpiece John Wesley Harding, the charming country folk classic Nashville Skyline, sessions that would end up on Self Portrait, and lots more with Johnny Cash than we'd ever thought would see light of day! Travelin' Thru has more interesting alternate versions and outtakes from John Wesley Harding and Nashville Skyline than we'd expect given how focused the former and how easygoing the latter are, but what's most revelatory here are the many recordings of Dylan and Cash together – from the Nashville Skyline sessions and for Johnny's Nashville-based television show at the time. Includes tracks with Carl Perkins on guitar and the great Earl Scruggs on banjo, too – with alternate versions John Wesley Harding material including "I Pity The Poor Immigrant", "All Along The Watchtower" and "I Am A Lonesome Hobo" and more, alternate Nashville Skyline takes such as "Country Pie", "Lay Lady Lay", "To Be Alone With You" and more, "I Still Miss Someone", "Ring Of Fire", "Girl From North Country", "Wanted Man" and lots more with Cash, surprisingly great folk & roots focused Self Portrait sessions including "East Virginia Blues" with Scruggs, and tons more. 50 tracks on 3LPs – most previously unreleased! LP, Vinyl record album

The incredible debut of The Pogues – and a set that somehow became a runaway hit and the start of a fantastic legacy – even during the post-punk years at a time when everyone had thought that interest in older folk styles was dead! And yet, although The Pogues work in the world of Irish traditional music, they're hardly another acoustic band – as Shane McGowan came to this territory through work in a punk band, and was able to reintroduce an edge to the work that had really disappeared during the folk revival boom of the 60s – reworking older acoustic instrumentation with a new sense of frenzy and urgency, all topped by his amazingly raw vocal style – which really gets at the heart of the lyrics! You might know some of these tunes from older records by The Clancy Brothers and other folk acts, but the sound here is completely different – and further transformed by an amazing sense of sound in the production – all those new sonic pathways that were learned during the punk years, helping here to further open up unique territory for the record. Titles include "Dark Streets Of London", "Streams Of Whiskey", "Transmetropolitan", "Waxie's Dargle", "The Auld Triangle", "Dingle Regatta", and "Poor Paddy". LP, Vinyl record album

A really unique take on the music of jazz legend Tadd Dameron – a set that focuses entirely on vocal versions of his compositions – a side of Dameron's legacy that's sometimes overlooked! Tadd wasn't that much of a lyricist himself – although he did do two of the songs here – while others are written by Irving Reid, Bernie Hanighen, and Jack Reynolds – all with a mix of lyrics that really fit the famous modern idiom in Dameron's music – delivered instrumentally by a core combo that features Gary Smulyan on plenty of strong baritone sax solos, with Pete Malinverni on piano, David Wong on bass, and Matt Wilson on drums. Anais Reno handles all the vocals – and titles include "Sweet Life", "Never Been In Love", "Whatever Possessed Med", "Weekend", "Lovely One In The Window", and "You're A Joy". LP, Vinyl record album

An amazing look at a sometimes-overlooked scene in the world of gospel music – the upsurge of strong local talent on the stages and churches of Louisville, Kentucky – a key border city between the north and the south, especially during the Civil Rights years in which much of this music was recorded! Louisville has always been a really compelling crossroads – and while most folks think of punk bands and post-rock when thinking of the city, the scene actually has a much larger legacy in African American styles – including soul, funk, and jazz – which all seem to echo in the gospel work within! The set is meticulously done – with a superb selection of rare 45s that we'd never have heard otherwise, all dripping with the kind of deep soul vocals and sharp instrumentation you might expect. Titles include "Let Me Lean On You" by The Religious Five Quartet, "Been Dipped In Water" by The Guiding Stars, "He's All Right" by Green Street Baptist Church Youth Choir, "Thank You Jesus" by Indiana Wonders, "I Feel Like Pressing My Way" by Joe Thomas, "He Knows It All" by Rev Thomas N Pride, "Calvary" by Newburg Radio Chorus, "My Time Ain't Long" by God's Girls, "We Are Trying" by The Golden Crowns, and "He Made A Way For Me" by The Ecclesiastics. 2LP version features 26 tracks in all – in a heavy cover with a great set of notes! LP, Vinyl record album

An amazing look at a sometimes-overlooked scene in the world of gospel music – the upsurge of strong local talent on the stages and churches of Louisville, Kentucky – a key border city between the north and the south, especially during the Civil Rights years in which much of this music was recorded! Louisville has always been a really compelling crossroads – and while most folks think of punk bands and post-rock when thinking of the city, the scene actually has a much larger legacy in African American styles – including soul, funk, and jazz – which all seem to echo in the gospel work within! The set is meticulously done – with a superb selection of rare 45s that we'd never have heard otherwise, all dripping with the kind of deep soul vocals and sharp instrumentation you might expect. Titles include "Let Me Lean On You" by The Religious Five Quartet, "Been Dipped In Water" by The Guiding Stars, "He's All Right" by Green Street Baptist Church Youth Choir, "Thank You Jesus" by Indiana Wonders, "I Feel Like Pressing My Way" by Joe Thomas, "He Knows It All" by Rev Thomas N Pride, "Calvary" by Newburg Radio Chorus, "My Time Ain't Long" by God's Girls, "We Are Trying" by The Golden Crowns, and "He Made A Way For Me" by The Ecclesiastics. 4CD set is amazing – 83 tracks in all, in a heavy book-style package, filled with notes and images! CD

A really unique take on the music of jazz legend Tadd Dameron – a set that focuses entirely on vocal versions of his compositions – a side of Dameron's legacy that's sometimes overlooked! Tadd wasn't that much of a lyricist himself – although he did do two of the songs here – while others are written by Irving Reid, Bernie Hanighen, and Jack Reynolds – all with a mix of lyrics that really fit the famous modern idiom in Dameron's music – delivered instrumentally by a core combo that features Gary Smulyan on plenty of strong baritone sax solos, with Pete Malinverni on piano, David Wong on bass, and Matt Wilson on drums. Anais Reno handles all the vocals – and titles include "Sweet Life", "Never Been In Love", "Whatever Possessed Med", "Weekend", "Lovely One In The Window", and "You're A Joy". CD

The roots of modern jazz never sounded this great before – and this is the first time ever that all the early bop recordings by Savoy have been properly brought together in one place! Savoy was one of the most important labels to record the early bop pioneers – and had a dedication to the music that begin in 1945, and moved well into the 50s – as the label captured some of the brightest young stars who'd go onto shape a generation! Almost all of this material was originally issued just as 78rpm singles – then later scattered and repackaged in a confusing way – although many tracks here also never made it into the LP or CD generation, either. The folks at Mosaic have worked incredible magic to correct that error – and have pulled together a stunning 10CD package that finally presents this amazing legacy of music in its proper form – complete with notes and session details that were never given in later years, too. There's way too much here to list in this space – but the set features dates recorded under the name of Dexter Gordon, Fats Navarro, Stan Getz, JJ Johnson, Sonny Stitt & Kenny Dorham's Bebop Boys, Allen Eager, Kai Winding, Ray Brown, Eddie Davis, Serge Chaloff, Kenny Hagood, Leo Parker, Tadd Dameron, Teddy Reig, Brew Moore, Milt Jackson, Kenny Clarke, and Gil Fuller – all with groups that are filled with equally hip and important musicians too. We love Mosaic all the time – but with a collection of 78rpm material, they really knock it out of the park – and do us, and the jazz history books, a mighty big favor! CD

A really fantastic career-spanning collection of work from Aretha Franklin – the first we've ever seen to start with her earliest years, then follow the greatness of her voice and spirit as it blossomed strongly over the decades! Sure, most folks know Franklin's classic work on Atlantic – but this package features earlier sides for Chess and Columbia, later work from Arista – and a whole host of rare and unreleased material – plus special tracks from side projects that worked together to form a crucial part of Aretha's legacy over the years! This 4CD package is beautiful – a book-style cover, with loads of vintage and rare photos, essays on Aretha by David Nathan and Rochelle Riley, and track-by track notes on the 81 tracks included in the lavish set. In addition to the rare tracks, there's some other great surprises here – and titles include "Until You Come Back To Me (work tape)", "Chain Of Fools (alt version)", "Rock Steady (alternate mix)", "Call Me (alt version)", "How I Got Over (live single edit)", "Chain Of Fools (alt)", "My Kind Of Town (Detroit Is) (demo)", "Try A Little Tenderness (demo)", "Oh Baby (demo)", "Til It's Over (demo)", "Angel (work tape)", "Somewhere (alt version)", "Mr DJ", "Ooo Baby Baby (with Smokey Robinson)", "Share Your Love With Me (live)", "Spanish Harlem (alt mix)", "Bridge Over Troubled Water (long version)", "Young Gifted & Black (alt long version)", "It's Not Unusual/See Saw (with Tom Jones)", "You're All I Need To Get By (work tape)", "Don't Play That Song (live)", "Spirit In The Dark (live reprise with Ray Charles)", "Oh Happy Day (with Mavis Staples)", "Someday We'll All Be Free", "A Rose Is Still A Rose", "Master Of Eyes", "A Change Is Gonna Come (mono)", "One Step Ahead", "Never Grow Old", "Today I Sing The Blues", "You Light Up My Life (unissued)", "Think", "I Knew You Were Waiting (with George Michael)", "Respect", and her version of "Natural Woman" from the 2015 Kennedy Honors ceremony. CD

The legendary John Coltrane was a leader on some amazing recordings of the late 50s and 1960s – but right at the start of his career, he also added key contributions to records headed up by other folks too – and some of the best of those moments are collected here in this well-done set! The "other side" isn't really a part of the Coltrane legacy that's different than the rest – but these early tracks show just how important his tenor saxophone stylings were to the transforming sound of jazz at the end of the 50s – taking things past earlier bop expressions, yet still in a straightforward mode – with solos that are sometimes even more stunning than the work of the leaders under whom the records were issued! Most of the tracks here are from the Prestige and Riverside Records catalogs – and titles include "CTA" by Art Taylor, "Monk's Mood" and "Trinkle Trinkle" by Thelonious Monk, "Someday My Prince Will Come" and "Airegin" by Miles Davis, "Soultrane" by Tadd Dameron, "Billie's Bounce" by Red Garland, and "Tenor Madness" by Sonny Rollins. 2LP set features bonus tracks – "Nutty" by Thelonious Monk, and "Birk's Works" by Red Garland. LP, Vinyl record album

Angel Bat Dawid is a completely mesmerizing artist on record, but she's even more mindblowing in a live setting – where she seems to channel the energy of the skies and the planet into her music – brimming over with righteous energy that guides the rest of the group with a hell of a lot of power! Angel plays clarinet, keyboards, and sings throughout – effortlessly shifting between those elements in a group that includes tenor, keyboards, electronics, bass, and lots of drums and percussion – bursting out with an effortless blend of larger conception and improvisation – at a level that may well have Dawid emerging as one of the few folks from Chicago that could ever hope to match the legacy of Sun Ra! That's not saying that Angel is anything like Ra at all – but in a similar way, she immediately comes across as a true visionary, a deeply spiritual talent, and an artist who's following a path that's completely her own. Features material recorded live in Chicago and Berlin – and titles include "Capetown", "Black Family", "What Shall I Tell My Children Who Are Black", "The Wicked Shall Not Prevail", "Melo Deez From Heab'N", "VIKTORious Return", and "Enlightenment". CD

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

Serving time has never been this groovy – thanks to a whole host of prison-themed tunes from the postwar years, presented here in a package that's especially strong on blues and R&B! Sure, most folks know "Folsom Prison Blues", but this package digs much deeper to come up with two dozen near-lost tracks that also echo the legacy of incarceration that frequently interacted with the music business during years when even the most minor infraction might get a singer or instrumentalist locked up. We're not saying that all these artists have experience behind bars, but the set does resonate strongly as a showcase of the too-common theme of jail and prison in American music. Titles include "Jailbird" by Smiley Lewis, "But Officer" by Sonny Knight, "Hey Mr Warden" by Danny Cobb, "Prisoner's Song" by Fats Domino, "Please Mr Jailer" by Wynona Carr, "Ball & Chain Blues" by Josh White, "Jail Bird" by El Pauling & Royal Abbit, "Prisoner's Plea" by Billy Boy Arnold, "Jailhouse Blues" by Ottille Patterson, "When I Leave These Prison Walls" by The Larks, and "I'm A Prisoner" by Eddie Boyd. CD

A massive folkloric project – one that really shows how much the form has evolved since the early days of recording! This huge book-length collection looks at the rich legacy of Appalachian music as it moved north towards the Mason-Dixon line – from roots in Virginia and Tennessee, to northern spots in Maryland and Pennsylvania as those older communities languished. The first half of the collection focuses on important 60s recordings of Ola Belle Reed and the New River Boys – done by folklorist Henry Glassie, and very well recorded – and the second half looks at the long legacy of music that's continued in that area, sometimes after the sounds have faded from the source of their original roots. CD one features all recordings of Ola and her contemporaries – while CD two features recent material with a surprisingly vibrant feel – and artists include TJ Lundy, Ryan Paisley, Hugh Campbell, Zane Campell, Dave Reed, and John Miller – as well as the Debusk-Weaver Family. The book itself is worth the price of admission – hardcover, full of photos and writings – and over 250 pages long! CD

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The overlooked legacy of Bachdenkel – maybe not the biggest name on the British scene at the start of the 70s, but a group who were initially signed to Philips, and made some really fantastic music at the time! The group are a trio, and it's a bit hard to sum up the quality of the work in easy words – as it's sometimes very personal, but not folksy at all – other times a bit more instrumentally intense, yet not really prog either – always somewhat dark overall, and never trying at all for an easy hook or the kind of track that might have gotten them any sort of radio play at all. The initial album on the set is Lemmings, a moody masterpiece that Philips only issued in France, but which is a stunning piece of work – and the second record, Stalingrad, got even less circulation at the time, but is equally powerful too. The 3CD set features both those records, plus lots of bonus tracks added to each – and a full bonus CD of material from 1967 through the 70s – 22 more tracks that really fill in the space between the main records, as does the very detailed notes that come with the package. 50 tracks in all – and long overdue! CD

The lasting recorded legacy of Jimmy Walker – and material that shows a much sharper, much smarter side of his personality than his character on Good Times! Walker's got a fast-talking, bad-rapping approach that's definitely rooted in the party record scene of the 60s – yet which is also turned here to deliver a bit more social commentary – maybe a bit of Bill Cosby wit filtered in to clean things up, as Walker turns his talents to 70s society on both sides of the tracks. Plenty of great stuff to sample here, including "The Black Prince Has Arrived" and "Show Biz", a good bit on blacksploitation films – and other titles include "The Apollo", "Suburbia", "Caucasians & Other White Folks", and "The Ghetto". LP, Vinyl record album

The drums of the late, great Tony Allen come into play with La Boa – a name that stands for La Bogota Orquesta Afrobeat – a contemporary combo who are really dedicated to continuing the legacy of Afro Funk sounds from the 70s – which they do here with a tremendous blend of trumpet, tenor, trombone, guitar, and plenty of percussion! The notes are a bit spare on the proceedings – so we're not sure if Tony Allen worked with the group while he was still on this planet, or if the folks at Comet, his long-running musical partners, were able to use some older rhythm tracks from Tony and mix them with new performances by the group. Yet whatever the case, the results are wonderful – and titles include "Tambor", "Ale", "La Maquina De Tony", "Poder", "Te Voy A Ver", "Cuento", and "Patatas Arriba". LP, Vinyl record album

Tenorist George Coleman has a long legacy that stretches back decades in jazz – but here, he slides into a setting that most folks would associate with the work of saxophonist Eric Alexander – a quartet that features Harold Mabern on piano, John Webber on bass, and Joe Farnsworth on drums! The group's a rock-solid lineup that you've heard on many other records – but the presence of Coleman really changes up their sound – especially since George brings in all this complexity with his phrasing and timing, which then seems to get folded back on the way that the rhythm section reacts to his lead! The tracks are long, with lots of space for Coleman to stretch out – and the record may be one of the best that he's done in many years – with phrasing that really blows us away. Titles include "Paul's Call", "East 9th Street Blues", "I Wish You Love", "Triste", "Along Came Betty", and "Lollipops & Roses". CD

Robert Glasper takes on the music of Miles Davis – in a set that's way more of Glasper's own than you might guess from the presentation! True, the tracks are all based around Miles Davis material from the Columbia Records vaults – but Robert really opens things up right away with his own sort of vibe, and uses the Davis elements to weave into a much larger fabric – one that incorporates a range of hip contemporary styles, in the manner of his great Black Radio projects! So while you will hear some of Miles at times – both playing and (even cooler) speaking – the real strength of the record lies in Glasper's amazing keyboards, especially Fender Rhodes, and the wonderful bass work of Derrick Hodge, whose bottom currents really make the whole thing glow with a subtle, soulful fire! And we haven't even gotten to the guests – a great lineup that rivals the sorts of folks that Robert had on the Black Radio project – as the record includes contributions from Stevie Wonder, Bilal, Phonte, Hiatus Kaiyote, Erykah Badu, Georgia Anne Muldrow, Illa J, John Scofield, Ledisi, and King. Titles include "They Can't Hold Me Down", "Ghetto Walkin", "Right On Brotha", "Milestones", "Song For Selim", "Little Church", "Violets", "Maiysha", and "Silence Is The Way". LP, Vinyl record album

The best sort of Thelonious Monk set in our opinion – the kind of record that draws heavily from the legacy of the master, but also delivers something completely new and fresh! Let's face it, Monk would wince at the idea of folks just copying his style and ideas – and Joey Alexander hardly does that at all here, by really transforming familiar Monk numbers with this modern approach that's both fluid and chunky at the same time! Alexander's hands on the keys are amazing – and almost feel like he's grabbing chunks of sound out of the air, to sculpt these sonic shapes based on the ideas of the tunes. The structure of the tunes is subtly but greatly enhanced by the work of Scott Colley on bass and Willie Jones III on drums – and titles include "Ugly Beauty", "Rhythm A Ning", "Straight No Chaser", "Pannonica", and "Evidence". CD

Robert Glasper takes on the music of Miles Davis – in a set that's way more of Glasper's own than you might guess from the presentation! True, the tracks are all based around Miles Davis material from the Columbia Records vaults – but Robert really opens things up right away with his own sort of vibe, and uses the Davis elements to weave into a much larger fabric – one that incorporates a range of hip contemporary styles, in the manner of his great Black Radio projects! So while you will hear some of Miles at times – both playing and (even cooler) speaking – the real strength of the record lies in Glasper's amazing keyboards, especially Fender Rhodes, and the wonderful bass work of Derrick Hodge, whose bottom currents really make the whole thing glow with a subtle, soulful fire! And we haven't even gotten to the guests – a great lineup that rivals the sorts of folks that Robert had on the Black Radio project – as the record includes contributions from Stevie Wonder, Bilal, Phonte, Hiatus Kaiyote, Erykah Badu, Georgia Anne Muldrow, Illa J, John Scofield, Ledisi, and King. Titles include "They Can't Hold Me Down", "Ghetto Walkin", "Right On Brotha", "Milestones", "Song For Selim", "Little Church", "Violets", "Maiysha", and "Silence Is The Way". CD

Fantastic work from saxophonist Muriel Grossmann – a player who's turning out to be as important to our generation as John Coltrane and Pharoah Sanders were to theirs! Over the course of a handful of albums, mostly issued under the radar, Muriel has been building up this tremendous legacy in spiritual jazz – long-spun tunes that feature her burning work on tenor over some very unique rhythmic conceptions – usually modal, but delivered in a way that's very fresh, and which often has guitar filling a place that's normally held by piano – so that Grossman's horn takes off in this fantastic flurry of rhythm and color! The folks at Jazzman Records, strong supporter of spiritual jazz in its many forms, have put together this set as a great collection of some of Miriam's earlier, self-released records – a great introduction, but also an essential slice of her genius – with five long tracks that include "Elevation", "Rising", "Chant", "Your Pace", and "Peace For All". CD