A great double-header – one that features 2 classic Jean-Luc Ponty albums from the 60s! Record one presents the album King Kong – an album that features Ponty, who was working with Frank Zappa at the time, playing a set of electric jazz takes on Zappa tunes – with lots of added help from George Duke, who was also working with Zappa too! The set's almost a "birth of fusion" one – with Zappa arrangements that are clearly in a jazz-rock mode – and lots of electric bass, electric piano, and electric violin in the set. Tracks are long, and riff-heavy – and other players include Ernie Watts, Wilton Felder, Buell Neidlinger, and Ian Underwood. Titles include "America Drinks & Goes Home", "Music For Electric Violin & Low Budget Orchestra", "King Kong", and "Twenty Small Cigars". Record two features The Jean Luc Ponty Experience With The George Duke Trio – a much better album than you'd expect, without any of the noodling of the players' later albums! At the time of this set, Duke and Ponty are breaking out of the hippie weirdness of the Zappa records, and get a bit more serious – working through some long, extended modal grooves that rank with the best MPS work by either player. Duke's on electric piano, ringing out in a weird spacy sound, and Ponty's violin is mostly restrained, used to cast waves of sound over the top of the tracks, in a way that works well with Duke's soulful resonant approach. Titles include "Foosh", "Cantaloupe Island", and "Starlight Starbright". LP, Vinyl record album

Features Ronnie Foster, George Duke, Gene Dunlap, Harvey Mason, and Paulinho Da Costa. CD

Features guest work by George Duke and Joe Sample on keys. Tracks include "Malaguena", "My Time Will Come", "Valse", "Shades Of Light", and "Moonlight Sonata". CD

A pretty great idea for a late 60s rock record – even if the record itself is even better than its idea! The whole concept of the "masked marauders" was that the group was supposedly formed by big rockers of the time – unable to be listed on the cover, because of contractual obligations. And in truth, the set does sound a lot like it could have been lifted from sessions by The Rolling Stones, or Get Back-era Beatles – plus maybe a few other contemporaries too – yet it's all actually the work of some great unknowns, who came up with a sweet gimmick to get the record out there! On its own, the set's a real charmer – and has a mix of rootsy modes and tighter, deeper ideas that's not unlike some of the George Harrison/Phil Spector work – save for those moments when the Marauders are clearly trying to sound a bit more like a big name act. Titles include "I Can't Get No Nookie", "Cow Pie", "Duke Of Earl", "I Am The Japanese Sandman", "Later", "More Or Less Hudson's Bay Again", and "Season Of The Witch". Also features two mono single tracks – "Cow Pie" and "I Can't Get No Nookie". CD

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

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

A pivotal album for Jeffrey Osborne – and a record that showed the world that he could stand proudly on his own away from his old group LTD! The album was actually his second solo outing, but the first to really gel together in that hit-making blend of ballads and catchy mid-tempo pop tunes – a crossover sound that put Osborne firmly on top at the time. As with Osborne's previous set, George Duke is at the production helm, keeping things in a lightly jazzy 80s soul mode. Titles include "Don't You Get So Mad", "We're Going All The Way", "Stay With Me Tonight", "Plane Love", "Greatest Love Affair", "Other Side Of The Coin", "When Are You Comin Back", and "Forever Mine". CD

Trippy electric fusion from the west coast – a record that features Ponty, who was working with Zappa at the time, playing a set of electric jazz takes on Zappa tunes – with lots of added help from George Duke, who was also working with Zappa too! The set's almost a "birth of fusion" one – with Zappa arrangements that are clearly in a jazz-rock mode – and lots of electric bass, electric piano, and electric violin in the set. Tracks are long, and riff-heavy – and other players include Ernie Watts, Wilton Felder, Buell Neidlinger, and Ian Underwood. Titles include "America Drinks & Goes Home", "Music For Electric Violin & Low Budget Orchestra", "King Kong", and "Twenty Small Cigars". LP, Vinyl record album

Three wonderful albums from this legendary Brazilian singer – all presented in a single set! First up is Nothing Will Be As It Was Tomorrow – a record that's quite different from Flora's earlier work, but in a way that we find very compelling! The record was produced by Leon Ndugu Chancler, and it's got a smooth fusion sound that's kind of in a southern California R&B mode, played by a huge range of excellent Brazilian and west coast talents that include Patrice Rushen, Dorothy Ashby, Fred Jackson, Raul De Souza, Toninho Horta, and Airto. While this sound overwhelms the core of Flora's usual Brazilian jazz approach, it also expands some of the tracks to a great groove – with Flora's vocals on top, stretching out in a whole new way! Includes a great English language version of the Milton Nascimento classic "Nada Sera Como Antes", plus the cuts "You Love Me Only", "I'm Coming For Your Love", "Corre Nina", "Angels", "Bridges", and "Fairy Tale Song". Every Day Every Night is a beautifully soulful record from Flora Purim – still awash with touches from her Brazilian roots, but also done with a great 70s LA sound! Airto's helping Flora out on production, but the real hero here is Michel Colombier – who handles most of the arrangements and wrote a good deal of the tunes with Purim and Airto – mixing his own expansive studio talents with their organically-forged groove, in a way that makes the record a real standout from the California fusion scene of the 70s! Players include Randy Brecker, Lee Ritenour, George Duke, Herbie Hancock, Harvey Mason, and other jazz heavyweights – and titles include "The Hope", "I Just Don't Know", "In Brasil", "Blues Ballad", "Why I'm Alone", "Walking Away", and "Samba Michel". Carry On is one of Flora Purim's more R&B-sounding albums from the 70s, produced by George Duke with an appreciation for Flora's Brazilian jazz roots, but with a smoother sound that's in keeping with Duke's own work of the time! The combination is pretty sweet – a professional culmination of the mixture of fusion and Brazilian jazz that had been happening in the San Francisco scene during most of the 70s, and featuring many of the musicians who had helped make that groove so strong. Players include Airto, Sheila Escovedo, Joe Farrell, Ronnie Foster, Bobby Lyle, and Larry Williams – and tracks include "Niura Is Coming Back", "From The Lonely Afternoon", "Freeway Jam", "Beijo Partido", "Corine", and "Love Lock". Includes bonus tracks too – "Tango Blues" and "Sad Song". CD

An amazing moment for singer Dianne Reeves – the first in a long line of excellent records for the Blue Note label – and a wonderfully tight blend of jazz and soul, put together at a level that instantly pushed Reeves into the territory of previous giants like Phyllis Hyman and Marlena Shaw! Like both of those singers, Dianne's got roots in jazz, but also pushes towards more of an R&B vibe at times – but never in a way that's commercially aimed at the charts, especially in comparison to some of her contemporaries. There's a really rich feel to the whole album – thanks to help from George Duke, who produced and played keyboards – alongside other musicians like Herbie Hancock on keyboards, Freddie Hubbard on trumpet, and Ndugu Chancler on drums. Titles include "Chan's Song (Never Said)", "I'm OK", "Sky Islands", "Harvest Time", "Yesterdays", and "Better Days". LP, Vinyl record album

A killer classic from the second chapter of Chick Corea's Return To Forever group – standard-setting fusion for the 70s, and a showcase of keyboard skills from Chick that nobody would have imagined years before! There's definitely plenty of soaring energy at the core of the record – the great Lenny White on drums and percussion, and Stanley Clarke on a bit of organ and plenty of bass – the latter of which is used in nicely different ways than his work with George Duke! Al DiMeola plays electric and acoustic guitar, and Chick also uses a bit of acoustic, next to Fender Rhodes, clavinet, and organ – and there's a warmth here that few other fusion combos could ever hope to touch. Titles include "Vulcan Worlds", "Where Have I Loved You Before", "The Shadow Of The Lo", "Where Have I Danced With You Before", "Beyond The Seventh Galaxy", "Earth Juice" and "Song To The Pharoah Kings". LP, Vinyl record album

A pair of fusion classics – back to back in a single set! Where Have I Known You Before is a killer classic from the second chapter of Chick Corea's Return To Forever group – standard-setting fusion for the 70s, and a showcase of keyboard skills from Chick that nobody would have imagined years before! There's definitely plenty of soaring energy at the core of the record – the great Lenny White on drums and percussion, and Stanley Clarke on a bit of organ and plenty of bass – the latter of which is used in nicely different ways than his work with George Duke! Al DiMeola plays electric and acoustic guitar, and Chick also uses a bit of acoustic, next to Fender Rhodes, clavinet, and organ – and there's a warmth here that few other fusion combos could ever hope to touch. Titles include "Vulcan Worlds", "Where Have I Loved You Before", "The Shadow Of The Lo", "Where Have I Danced With You Before", "Beyond The Seventh Galaxy", "Earth Juice" and "Song To The Pharoah Kings". No Mystery is one of the key moments from this legendary group of the 70s – a set that really helps redefine the fusion groove of the time – moving away from some of the more rockish modes that others borrowed from prog, using some of the Brazilian influences that Flora Purim brought to an earlier incarnation of the combo, and also touching off on some of the soulful styles that others would soon pick up on the mainstream! Chick Corea handles a host of incredible keyboards – and the rest of the lineup features Al DiMeola on guitar, very much electric at many points – plus Stanley Clarke on bass and Lenny White on drums and plenty of percussion – really helping the group soar to the skies. Titles include "Dayride", "Jungle Waterfall", "Flight Of The Newborn", "Sofistifunk" and "Excerpt From The First Movement Of Heavy Metal". CD

One of Sonny Rollins' sweetest electric sessions from the 70s – a date that features Patrice Rushen handling some keyboards, and Lee Ritenour on guitar – but Sonny blowing solid, soulful tenor all the way through! The setting is the sort that might initially turn off fans of Rollins' classic era, but it's great to hear him change things up here – picking up some rhythms that you might not normally expect, and really doing some great things with them – as on his Caribbean-inflected RCA album from the 60s. Other players include Alex Blake on bass, Billy Cobham on drums, and Bill Summers on congas – and there's a horn section on some numbers too. Rollins composed most of the tracks and they include "Island Lady", "Asfrantation Woogie", "Happy Feel", and "Charm Baby". Other titles includes the George Duke numbers "Love Reborn" and "The Way I Feel About You" – plus Rushen's "Shout It Out". LP, Vinyl record album

A nice early Cal Tjader set for Fantasy – featuring Cal's vibes set up in a piano and percussion mode – a bit like work by the George Shearing group, but with a hipper sound, and more of a firey Latin finish, thanks to percussion by the likes of Willie Bobo and Mongo Santamaria. Lonnie Hewitt's the pianist on the set keeping things in a nice soulful vein, and titles include "Cuban Fantasy", "SS Groove", "Love For Sale", "Rezo", "Moment In Madrid", "Goodbye", "Then I'll Be Tired Of You" and "Theme For Duke". LP, Vinyl record album

Features George Duke on keyboards, Jean-Luc Ponty on violin, and Jack Bruce on bass – and titles include Frank's classic "Don't Eat The Yellow Snow" – plus "Nanook Rubs It", "Father O'Blivion", "Cosmik Debris", "Exentrifugal Forz", "Stink Foot", and "Apostrophe". LP, Vinyl record album

Features George Duke on keyboards, Jean-Luc Ponty on violin, and Jack Bruce on bass – and titles include Frank's classic "Don't Eat The Yellow Snow" – plus "Nanook Rubs It", "Father O'Blivion", "Cosmik Debris", "Exentrifugal Forz", "Stink Foot", and "Apostrophe". CD

Wonderful stuff from Frank Zappa – a set that still has all the freak-out feel of the early years, yet which also shows a real maturation in his arrangement styles as well! The instrumentation is fantastic – not just great guitar from Frank, but heavy keyboards from George Duke, slide guitar from Tony Duran, raw drums from Aynsley Dunbar, and even some great horn arrangements that bring in a jazzy undercurrent that's mighty nice – almost grounding the free-form energy of the band's impulses with a sophisticated groove that really makes you take them seriously! Titles include the side-long "Big Swifty" – plus "Waka/Jawaka", "Your Mouth", and "It Might Be A One Shot Deal". LP, Vinyl record album

An album that has Frank Zappa really continuing to push the instrumental complexity of his music – showing the world that he's not just another long-haired casualty from the 60s, and instead an artist who just kept on getting deeper and deeper into his own really unique groove! The record's overflowing with instrumental tracks that some might argue had a huge impact on jazz fusion – especially that mid 70s moment when the door opened in jazz to some more rock-like solos and rhythms – and that link is maybe no surprise, given that the lineup includes work from older jazzmen who include Billy Byers on trombone and the great Fred Jackson on saxes – plus George Duke on keyboards and Ernie Watts on c-melody sax. As always, the drums of Aynsley Dunbar are superb – and titles include "The Grand Wazoo", "Eat That Question", "Blessed Relief", "For Calvin & His Next Two Hitch-Hikers", and "Cleatus Awreetus-Awrightus". LP, Vinyl record album

"Mostly" live genius from Frank Zappa and the Mothers Of Invention – recorded at The Roxy with some studio additions – and the players include George Duke, Tom Fowler, Ruth Underwood, Walt Fowler, Ralph Humphrey and the other great players from this peak period! It's astonishing stuff – and as strong of a mix of the tightly rock-centric and exploratory/hard fusiony sides of Zappa as you could hope for – shoot, even the stage banter is priceless! Includes "Penguin In Bondage", "Pygmy Twylyte", "Village Of The Sun", "Don't You Ever Wash That Thing?", "More Trouble Everyday" and "Be-Bop Tango (Of The Old Jazzmen's Church)" and more. CD

A fantastic tribute to the legendary Disco Spectrum series of compilations – a run of records that first burst forth at the end of the 90s, and showed the world that there was a huge amount of underground music to discover from the mainstream disco years! Disco Spectrum cuts aren't the ones you'll know from Saturday Night Fever – or from K-Tel compilations of the time – and instead, they represent the much deeper current of groove that was still burning bright away from the limelight, even while the more commercial disco crumbled into dust – music that was sometimes cut by artists who disappeared quickly, sometimes by older masters, and sometimes by talents who never fully got the respect they deserved. Both Joey Negro and Sean P have given us some great sets before, but this one is right at the top of their talents – filled with gems that include "Let Me Down Easy" by Rare Pleasure, "Spread Love" by Al Hudson & The Soul Partners, "Can't Shake Your Love (Larry Levan 12" mix)" by Syreeta, "Trinidad (special disco mix)" by John Gibbs & US Steel Orchestra, "Isabelle & The Rain" by Jo Boyer, "Don't Let My Rainbow Pass Me By (club 12" mix)" by Cloud One with Margo Williams, "Could Heaven Ever Be Like This" by Idris Muhammad, "I Don't Want You Back" by Ramona Brooks, "Hot To Trot" by Alfredo De La Fe, "Out Of My Hands" by Omni, "Under The Skin" by The Brothers, "Let Me Love You" by Bunny Mack, "Can You Get Down" by Universe City, and "I Want You For Myself" by George Duke with Lynn Davis. CD

Beautifully sensitive work from pianist Geri Allen – a session cut with a core trio of Ron Carter on bass and Jimmy Cobb on drums, but one that sparkles even more from guest contributions by Wallace Roney and Carmen Lundy! Geri's piano is at the forefront of the set – sliding out gracefully with a sound that's not exactly timeless, but which has a soulful energy that reminds us a lot of some of the best styles of her roots – focused a bit more here, and augmented on a few tracks by the Atlanta Jazz Chorus, a vocal group who hardly dominate the record, but float in very gently alongside Geri's piano – almost in a style that's similar to the use of voices on some of Duke Pearson's last recordings for Blue Note. Titles include "Portraits & Dreams", "Oh Freedom", "Melchezedik", "Well Done", "La Strada", "I Have A Dream", "Nearly", "In Real Time", "Our Lady", and "Timeless Portraits & Dreams". CD features a bonus disc with a version of "Lift Every Voice & Sing" by vocalist George Shirley with the Atlanta Jazz Chorus. CD

A tight 80s set from drummer Billy Cobham – a record that really shows the soulful focus he was bringing to his music at the time! There's definitely a GRP vibe to the set – but given the boundless energy that Cobham brings to his work on drums, the overall sound packs plenty of punch – much more so than some of Billy's contemporaries on the label. Cobham plays mostly acoustic drums, but uses a few rhythm patterns too – and most of the tracks feature small groupings of players – including Randy Brecker on flugelhorn, Tom Scott on lyricon, Grover Washington Jr on tenor, and George Duke on keyboards. Titles include "Two For Juan", "Same Ole Love", "Coming Attractions","The Juggler", "Sign O The Times", and "You Within Me Within You". CD

A monstrous bit of jazzy fusion from the 70s – and the record that really put drummer Billy Cobham on the map – virtually creating his own sort of space between jazz, funk, and prog – thanks to the help of an all star lineup too! Cobham is tremendous on drums – and is joined on most of the record by guitarist Tommy Bolin and keyboardist Jan Hammer – both at the height of their early powers – and a few other tracks feature a slightly different lineup, with great work from saxophonist Joe Farrell and trumpeter Jimmy Owens! The drummer is definitely in the space of the territory he would explore with George Duke – but is also maybe looser and more open to new sounds too – really stepping out on cuts that include the slow mellow funk number "Red Baron", which has great breaks and nice electric piano – plus "Stratus", "Taurian Matador", "To The Women In My Life", and "Quadrant 4". LP, Vinyl record album

A nice collaboration between Miles and Marcus Miller from the latter part of Miles career. As much of the recording here is overdubbed, with many multiple instruments played by Miller, it doesn't have the improvised vibe of Miles' classic performances, but the songwriting and arrangements are head and shoulders above much of the contemporary jazz being recorded at the time, Miles is in great form, and the glossy production sits better with us now than ever before. Paulinho DaCosta, George Duke, Michael Urbaniak and Bernard Wright all make guest appearances. 8 tracks in all: "Tutu", "Tomaas", "Portia", "Splatch", "Backyard Ritual", "Perfect Way", Don't Lose Your Mind" and "Full Nelson". LP, Vinyl record album

A truly amazing package – 8 different Ella Fitzgerald Songbook albums for Verve – each packaged just like the original albums, including those that were double-LP sets, or even boxed sets! The whole thing comes in a handsome fabric-covered box, with a hardcover book – and each album is presented with an LP-styled cover or box! Includes Songbook albums on Rodgers & Hart, Cole Porter, Johnny Mercer, Jerome Kern, Duke Ellington, Harold Arlen, George & Ira Gershwin, and Irving Berlin! CD

Funky fusion doesn't get any funkier than this – and the album's one of the greatest 70s recordings by jazz funk trumpeter Eddie Henderson! The album's got a harder edge than a lot of Eddie's other records of the decade – razor sharp rhythms crackling away underneath a sublime space-heavy mix of keyboards, bass, saxes, and Eddie's funky trumpet. The group includes work by Bennie Maupin on reeds, George Duke on keyboards, Julian Priester on trombone, and Harvey Mason on drums – and the great Skip Drinkwater is at the production chair, cutting the grooves here with a lot more fire than in some of his later work! The whole thing's great – and titles include "Involuntary Bliss", "Galaxy", "Kumquat Kids", and "Explodition". CD

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

An amazing moment for singer Dianne Reeves – the first in a long line of excellent records for the Blue Note label – and a wonderfully tight blend of jazz and soul, put together at a level that instantly pushed Reeves into the territory of previous giants like Phyllis Hyman and Marlena Shaw! Like both of those singers, Dianne's got roots in jazz, but also pushes towards more of an R&B vibe at times – but never in a way that's commercially aimed at the charts, especially in comparison to some of her contemporaries. There's a really rich feel to the whole album – thanks to help from George Duke, who produced and played keyboards – alongside other musicians like Herbie Hancock on keyboards, Freddie Hubbard on trumpet, and Ndugu Chancler on drums. Titles include "Chan's Song (Never Said)", "I'm OK", "Sky Islands", "Harvest Time", "Yesterdays", and "Better Days". CD

A killer classic from the second chapter of Chick Corea's Return To Forever group – standard-setting fusion for the 70s, and a showcase of keyboard skills from Chick that nobody would have imagined years before! There's definitely plenty of soaring energy at the core of the record – the great Lenny White on drums and percussion, and Stanley Clarke on a bit of organ and plenty of bass – the latter of which is used in nicely different ways than his work with George Duke! Al DiMeola plays electric and acoustic guitar, and Chick also uses a bit of acoustic, next to Fender Rhodes, clavinet, and organ – and there's a warmth here that few other fusion combos could ever hope to touch. Titles include "Vulcan Worlds", "Where Have I Loved You Before", "The Shadow Of The Lo", "Where Have I Danced With You Before", "Beyond The Seventh Galaxy", "Earth Juice" and "Song To The Pharoah Kings". CD

A sweet little Brazilian set from Cal Tjader – quite different than most of his other work of the time! Although Cal spent most of his time at Fantasy Records working in a mixture of jazz and Afro-Cuban styles, he steps off here in a very Brazilian 70s mode – one that has some great links with jazz trends going on in Brazil at the time! Production is by Airto and arrangements are by George Duke – and there's a wonderful crossing of Rio and California in the set – one that uses keyboards from Egberto Gismonti, flute from Hermeto Pascoal, guitars by David Amaro, and trombone from Raul De Souza. Dawilli Gonga nee George Duke plays some especially nice keyboards on the set – and titles include a great version of Joao Donato's "Amazonas", plus the tracks "Mindoro", "Corine", "Noa Noa", and "Cahuenga". LP, Vinyl record album

One of Frank Zappa's biggest-selling albums of the early 70s and it's also one of his best ever! Over-Nite Sensation finds Zappa's leftfield weirdness and sly social satire at play within adventurous, but accessible arrangements. It's got some early fusiony rock bits paired with heavy drums and muscular rock riffs – and it's a hell of a great sound! The songs themselves are sharp here, too. If forced to make a list of favorite Zappa songs, it'd certainly include "Camarillo Brillo", which kicks this record off – and other titles include "I'm The Slime", "Montana", "Dinah-Moe Humm", "Zomby Woof", and "Dirty Love". Features keyboards from George Duke and violin from Jean Luc Ponty – plus horns by Ian Underwood, Sal Marquez, Tom Fowler and Bruce Fowler – plus percussion by Ruth Underwood and amazing drums by Ralph Humphrey. LP, Vinyl record album

With performances by Nat Adderley, Art Blakey, Gary Burton, Jaki Byard, George Duke, Harry Edison, Tyree Glenn, Dexter Gordon, Herbie Hancock, Elvin Jones, Rahsaan Roland Kirk, Howard McGhee, Zoot Sims, Jimmy Smith, Sonny Stitt, Tony Williams, and others! LP, Vinyl record album

Cannonball Adderley in a live setting was always something special – and this early 70s live performance is no exception to that rule! The set's titled after Cannon's righteous "Black Messiah" album, which gets a heady showcase on side one of the record – presented in a take that's almost 20 minutes, and which has a nicely different vibe than the studio version of the classic – served up with Cannon on alto, Nat Adderley on cornet, Walter Booker on bass, Roy McCurdy on drums, and the surprising presence of George Duke on both acoustic and electric piano! Side two expands slightly, but still is in that hip funky early 70s mode of the band – thanks to great versions of "Hummin", "Soli Tomba", and "Directions". LP, Vinyl record album

A classic from Cannoball and producer-partner David Axelrod – truly great stuff and maybe even better than the Zodiac set Cannonball did for Capitol! The formula is similar to that one – with David Axelrod producing, electric keyboards by Hal Galper and George Duke, spacey solos by Cannonball and Nat Adderley, and some very hip recitations by Rick Holmes on love, sex, and the zodiac! Holmes is best known as the chappie who cut "Remember To Remember" years later with Roy Ayers – but this album's got a similar "wisdom and knowledge" feel that's pretty wonderful. Titles include "Aquarius: Humanity Plus", "Cancer: All Sides", "Leo: Rosebud", "Aries: Damn Right", "Gemini: Ecstasy", and "Virgo: For Pam". CD

One of Cannonball Adderley's excellent moody electric albums from the early 70s – with a stripped down vibe that's really nice, made even better by sweeeet production by David Axelrod! The set's got great keyboard work by George Duke and Hal Galper – both working in a spare, subtle funk mode that's a perfect fit for Axelrod's production style and Cannon's soulful soloing. Tracks include David Axelrod's "Book-Ends", plus 2 Hal Galper tunes, "Phases" and "My Lady Blue", and Cannonball's "Suite Cannon". LP, Vinyl record album

A monstrous bit of jazzy fusion from the 70s – and the record that really put drummer Billy Cobham on the map – virtually creating his own sort of space between jazz, funk, and prog – thanks to the help of an all star lineup too! Cobham is tremendous on drums – and is joined on most of the record by guitarist Tommy Bolin and keyboardist Jan Hammer – both at the height of their early powers – and a few other tracks feature a slightly different lineup, with great work from saxophonist Joe Farrell and trumpeter Jimmy Owens! The drummer is definitely in the space of the territory he would explore with George Duke – but is also maybe looser and more open to new sounds too – really stepping out on cuts that include the slow mellow funk number "Red Baron", which has great breaks and nice electric piano – plus "Stratus", "Taurian Matador", "To The Women In My Life", and "Quadrant 4". DVD-audio pressing includes stereo mix, Advanced Resolution 6 channel surround mix, DTS 5.1 surround mix, and Dolby Digital stereo mix. CD

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

A crucial bit of keyboard funk from the 70s – a wild album of many moods, recorded in 1974, and featuring the talents of keyboard whiz Marc Moulin! Moulin's since been resurrected and given the credit he deserves – but at the time of release, this rare gem was somewhat lost – caught underneath the weight of more famous work by players like Herbie Hancock or George Duke. The album's got a jazzy groove in parts – and in others it's got a totally stripped down feel, and sounds a lot like a lost David Axelrod album, or a rare Herbie Hancock Japanese session. Includes the totally excellent 17 minute cut "Tohubohu", plus goodies like "La Blouse", "La Bougie", and "From". CD

Produced and arranged by George Duke! CD

Pure vocal magic – featuring the lovely Flora Purim at the height of her California powers – working in a sublime mix of jazz, fusion, and Brazilian rhythms – a sound that she virtually invented! The group on the set is one of her greatest of the time – with players that include Joe Henderson, George Duke, and Stanley Clarke – coming together with some great Brazilian percussion from husband Airto. The tracks are tight and jazzy – and include "Light As A Feather", "Dr. Jive (parts 1 & 2)", "Butterfly Dreams", "Moon Dreams", and "Dindi". This is the stuff that virtually defined the Brazilian/American groove of the 70s – and it's still light years ahead of any of Flora's many imitators! CD

Great stuff – one of Flora Purim's more R&B-sounding albums from the 70s, produced by George Duke with an appreciation for Flora's Brazilian jazz roots, but with a smoother sound that's in keeping with Duke's own work of the time! The combination is pretty sweet – a professional culmination of the mixture of fusion and Brazilian jazz that had been happening in the San Francisco scene during most of the 70s, and featuring many of the musicians who had helped make that groove so strong. Players include Airto, Sheila Escovedo, Joe Farrell, Ronnie Foster, Bobby Lyle, and Larry Williams – and tracks include "Niura Is Coming Back", "From The Lonely Afternoon", "Freeway Jam", "Beijo Partido", "Corine", and "Love Lock". LP, Vinyl record album

One of Flora Purim's most ambitious albums of the 70s – recorded with larger backings than usual, and some occasional additional vocal help from Urszula Dudziak and Googie Coppola! The "encounter" of the title is a reference to the added players on the set – as Flora's groove is expanded by a host of well-chosen players – some familiar from other Purim records, some making a strong initial appearance here. George Duke plays a host of keyboards on the set, and other musicians include Joe Henderson on tenor, Hermeto Pascoal on keyboards and vocals, Ron Carter on acoustic bass, Alphonso Johnson on electric bass, Ngugu Chancler on drums, Raul De Souza on trombone, McCoy Tyner on piano, and of course the ever-present Airto on percussion! Flora's vocals are as lovely as ever, and if anything seem to reach even farther to the heavens in a setting like this. Titles include "Windows", "Black Narcissus", "Dedicated To Bruce", "Tomara", and "Latinas". LP, Vinyl record album

A classic batch of Bay Area Brazilian grooves – recorded in the sweet breezy electric style of the Fantasy studios, and featuring the vocals of the lovely Flora Purim in the lead! The session's got a great mix of Brazilian and American fusion players – including Airto (of course!), Ron Carter, George Duke, Egberto Gismonti, Alphonso Johnson, Robertinho Silva, Hermeto Pascoal, and Ndugu Leon Chancler. Pascoal's reed work is a very nice treat, especially over the warm keyboards of George Duke. Purim's voice is as wonderful as ever, and the album's got lots of nice numbers, like "Ina's Song", "Andei (I Walked)", "Time's Lie", and "Open Your Eyes You Can Fly". LP, Vinyl record album

One of Flora Purim's last albums for Milestone – and much less of a straight Brazilian fusion session than some of her other records – more in the soul style she'd explore in years to come! Flora's singing in English a bit more than before, and some of the tunes have a nice dose of R&B in the mix – sliding in nicely with fusion-inspired instrumentation from a lineup of players that includes George Duke on keyboards, Oscar Brashear on trumpet, Joe Henderson on tenor, Alphonso Johnson on bass, and Ndugu Chancler on drums. Flora's vocals are as heavenly as ever – and she soars over the top of the tunes with all the grace of her earlier sessions! Titles include "Look Into His Eyes", "Juicy", "What Can I Say", "That's What She Said", and "You Are My Heart". LP, Vinyl record album

A sweet electric set from Sonny Rollins – and maybe the closest he ever came to cutting a funk record! The set's got that mellow electric funk approach that Prestige was using often in the mid 70s – Sonny's tenor lines getting some great Bay Area studio support from George Duke on keyboards, Bennie Maupin on reeds, Raul De Souza on trombone, Bob Cranshaw on electric bass, and even Mtume on congas – players who work together to create a tight ensemble sound that moves the album nicely along! Titles include the great cut "Newkleus", a space funk jammer that has a nice Headhunters-ish kind of sound – and other tracks include "Gwaligo", "Azalea", and "Cosmet". CD

A great take on the music of Duke Ellington – one that takes it from the more sophisticated setting on the stage, and down into the small club scene of the Hammond generation – thanks to superb work from Shirley Scott on the keys! As with many of Shirley's records from the time, there's a bassist in the mix to handle the groove – an approach that's more like a piano trio combo – with George Tucker on bass and Mack Simpkins on drums. Titles include "Satin Doll", "C Jam Blues", "Perdido", "Mood Indigo", and "It Don't Mean A Thing". LP, Vinyl record album

Features George Duke on keyboards, Jean-Luc Ponty on violin, and Jack Bruce on bass – and titles include Frank's classic "Don't Eat The Yellow Snow" – plus "Nanook Rubs It", "Father O'Blivion", "Cosmik Debris", "Exentrifugal Forz", "Stink Foot", and "Apostrophe". CD

A great batch of tracks, all mixed together by Patrick Forge – the old partner of Gilles Peterson, and the genius behind the group DaLata. Like Peterson, Forge has a keen talent for mixing together older and newer styles, running through rhythms from a host of cultures with ease, coming up with a worldwide set of grooves that's always as fresh as the sounds that inspired it. Titles include "Jug" by Smoke City, "Brazilian Love Affair" by George Duke, "Naima" by Hipnotic, "Delierium" by Francine McGhee, "Night In Tunisia" by Subterraneans, "Pra Manha (percapella)" by Da Lata, "Sambafrique" by Dave Matthews, and "Wishing You Were Here" by Blaze. CD

Music from George Lewis, Kay Starr, Art Hodes' Hot Seven, Duke Ellington, Fats Waller, Benny Goodman, Count Basie, Frank Sinatra, Sarah Vaughan, Thelonious Monk, Miles Davis, Billie Holiday, Modern Jazz Quartet, Nat King Cole, Dinah Washington, and more. 38 tracks total, plus notes by author Gary Giddins. CD

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

Killer work from the same sessions that gave the world Cannonball Adderley's classic Black Messiah album – live material from an extended stretch as the Troubadour club in LA – featuring a very righteous, freewheeling version of Cannonball's group! The lineup features some wonderful work on Fender Rhodes from George Duke – who brings a more soulful, spiritual current to the proceedings than Joe Zawinul did in earlier years – a really commanding presence that hints at his brewing solo fame, and which is a very welcome addition to the core lineup, which also includes Cannon on soprano and alto, and brother Nat on cornet! The performance also fetaures some great guest work from Ernie Watts on tenor and Airto on percussion – who really help round out the long tunes on the set. David Axelrod produced – leaving some nice room for Adderley's key spoken bits – and titles include the 12 minute groover "The Brakes", plus "Oh Babe", "Music You All", and "Capricorn" – plus a sweet take on "Walk Tall", which really has Duke stomping away on the Rhodes! LP, Vinyl record album

Prime material from Cannonball and David Axelrod – and despite the biblical leanings of the title, the record is pretty darn funky! As they did for the Zodiac, Cannonball and Adderley take a trip through a host of cultural milestones – stopping along the way to turn each one into a new pillar of soul, working with Rick Holmes, who narrates the set in the same way he did on the Zodiac albums. Brother Nat Adderley and George Duke are among the players in the album's very funky backing – and tracks include "Make Your Own Temple", "Amani", "Space Spiritual", "Eternal Walk", and "Gone". Oh for the days of the double LP concept jazz record! LP, Vinyl record album

An 80s soul classic from Philip Bailey – stepping out here from Earth Wind & Fire in a set that has him sparkling strongly as a solo act! The vocals still have that trademark Bailey sound – a wonderful range that's never overdone, and which seems to shine especially well on the mellow and midtempo tunes in the set! Production is by George Duke, who does a lot to preserve the jazzier warmth of Bailey's previous settings – and although there's a bit more crossover potential here, the sound is still never too commercial or aimed at the charts. Titles include "It's Our Time", "Trapped", "I Know", "I'm Waitin For Your Love", "Desire", "The Good Guy's Supposed To Get The Girls", and "Your Boyfriend's Back". LP, Vinyl record album

Two of the later Blackbyrds LPs on one CD! Action is a great little sleeper from the Blackbyrds – a record that never gets as much due as their earlier records that have a hard funky feel, but offer instead a tasty batch of smoother jazz funk numbers that show the group still continuing to grow. Donald Byrd's still at the production helm – and the band's got a nice spacey sound that almost reflects directions that other funk groups, like Kool & The Gang, were taking at the time. The best case of this is the massive cut "Mysterious Vibes", a slow jazzy stepper that was sampled to great fame a few years back – but you can also hear it on the cuts "Supernatural Feeling", "Soft & Easy", and "Dreaming About You". Better Days is filled with sweet warm grooves from the mighty Blackbyrds – a set that has George Duke working with the group, giving them some of the electric vibe of his own great work! The sound is less sharply funky than the early days of the group, but still mighty nice – and titles include "Do It Girl", "Love Don't Strike Twice", "What We Have Is Right", and "What's On Your Mind". CD

Angela's looking a bit uptight on the cover, but the set's got a wonderfully smooth feel overall – thanks to production from George Duke! Duke brings a nice sense of warmth to the record – one that's greatly appreciated at this point in Bofill's career, and which helps her hang onto the more jazz-inflected sounds she first brought to wax at the end of the 70s. A few tunes are a bit crossover-oriented, but never too much so – and backing vocals on the set are by Howard Hewett and Shirley Jones. Tracks include "First Time", "Midnight Shine", "Tell Me Tomorrow", "Woman's Intuition", "I Don't Wanna Come Down", "Generate Love", and "You're On". LP, Vinyl record album

Featuring Randy Brecker, Vinny Colaiuta, George Duke, Bela Fleck, Larry Golding's and Jeff Lorber. CD

A funky fusion classic from the 70s – totally great work from Chocolate Jam Company, a hip little group headed up by percussionist Leon Ndugu Chancler! The core sound is soul, but there's plenty of fusion touches as well – thanks to a great lineup of players that includes Oscar Brashear on trumpet, George Duke on keyboards, David T Walker on guitar, and even Dorothy Ashby on harp! Chancler sings lead vocals on most cuts – but he's also joined by Virginia Ayers and Leo Mille on some cuts too – making for a really well-rounded sound that's easily one of the best jazz-into-soul sessions like this from the 70s – almost topping the more famous work from folks like Lenny White or Mtume! Titles include "Don't Leave Me Now Stay With Me", "Feeling", "This Time", "Looking Glass", and the extended "Suite Chocolate". LP, Vinyl record album

A masterful album from Billy Cobham – and maybe the best 70s record to really demonstrate the unique place he found for himself in 70s fusion! The album soars with a sound that really lives up to its cover image – but it's also not the heavy-jamming affair of some of Billy's more rockish records from the time. Instead, it's got this wonderful blend of deeper elements that really come together wonderfully – and some very strong use of reeds from Michael Brecker, trumpet from Randy Brecker, and trombone from the great Garnett Brown – all players who give the album a very rich, soulful voice. The set includes the famous sample track "Heather", a very dope, very mellow cut with great electric keyboard work by George Duke – and other titles include "Crosswind", "The Pleasant Pheasant", and "Spanish Moss – A Sound Portrait". CD

Billy Cobham's always got something funky going on in his music – and this 70s classic for Atlantic Records has the drummer at the height of his powers – really mixing together jazz, rock, and funk impulses – all without some of the overindulgence of his more jamming records of the time! There's still some great trippy sounds at times – some fierce future jazz passages that have Billy's drums really propelling keyboards and guitar – but overall the tracks are short and focused, with a nice nod back to the kind of energy that Cobham brought to his sessions with other artists. One exception is the great "Moody Modes" – a sweet long electric track that almost feels like George Duke on MPS – alongside other cuts that include "A Funky Kind Of Thing", "Some Skunk Funk", and "Light At The End Of The Tunnel". CD