A fantastic record from vibist David Friedman – spare, hip, modern, and very moody! Friedman's playing vibes and marimba alongside David Samuels, who plays the same – and this twin-vibes approach sounds fantastic – especially as the record has no drums, just additional bass, plus flute by Hubert Laws – a very loose, open style that comes across with a completely unique sound! The approach is super-dope for any fan of laidback 70s vibes – and the tracks are never too free or way out, just gliding with this airy quality that's really wonderful – one of the best demonstrations of Friedman's great talents on record. Titles include "Truce", "Nyack", "Brite Piece", "Island", and "Saraband". CD

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An unissued session from pianist David Janeway, done at a time when he was really hitting his stride – moving across the keys of the piano with this intuitive sense of feeling that makes for a very special record! The quality is a bit hard to describe, but if you've heard other Janeway sessions from the 90s, you'll know what we mean – a lyrical swing that's never sleepy or sloppy, and which always seems to sparkle with these fresh combinations of notes, yet never in a way that's trying too hard, or seems forced! The rhythm work of Harvie S on bass and Steve Johns on drums is a perfect complement to Janeway's piano – and on one track, they're joined by Pete Yellin on alto, for a great reading of "Invitation". Other titles include "Last Embrace", "Very Early", "Interchange", "Who Cares", "Return", and "Yours Is My Heart Alone". CD

A different groove than usual from The JBs – but still pretty darn nice, and way better than just about all the other funky combos on the market! It's the late 70s, and James Brown's head is a bit addled – he thinks he's the guy who invented disco, and he starts turning his extended funky sound towards the clubs. By this point, Fred and Maceo had left him, so he's working here with a new version of the JBs, one that still includes Jimmy Nolan on guitar and Sinclair Pickney on sax – and although the new band's not the same as the old, they're a surprisingly good funk band nonetheless, and the album's still more of a funk album than you'd guess from the title. In fact, if the record didn't have JBs in the title, most folks would probably thing it was some great lost band! Lots of uptempo funk tracks, similar to those on James' albums from the time – and Martha & The Lazers sing vocals on a few tracks. Titles include "JBs Disco", "Night Train Disco", "A Little Bit Of Disco", and "Soul Of The Disco". CD

Powerful live document of Janis with Big Brother live at Winterland in the spring of '68 – with recordings of their biggest and best-remembered numbers, and ones that didn't get nearly as much play over the years! Truly awesome work, with Janis and the band working their inimitable magic – all the more incredible given the potent period in late 60s San Francisco. "Down On Me", "Flower In The Sun", "I Need A Man To Love", "Easy Rider", "Combination Of The Two", "Farewell Song", "Piece Of My Heart", "Catch Me Daddy", "Magic Of Love", "Summertime", "Light Is Faster Than Sound", "Ball And Chain" and "Down On Me". CD

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Later work from Pat Martino, but a set that shows that the guitarist has lost none of his fire over the years! The set's done with a relatively freewheeling sound – not free, but open, as Martino spirals out wonderfully with some very creative solo lines – often quite extended, and filled with the sort of rapid-fire creativity we've always loved in his work. The group on the date is a quartet – with James Ridl on piano, Marc Johnson on bass, and Sherman Ferguson on drums – but most numbers feel very dominated by Martino's guitar, which is a good thing by us. Titles include "Black Glass", "Interchange", "Just For Then", "Blue In Green", and "Catch". CD

An obscure Morricone soundtrack, but a great one too – done with a slinky, seductive feel that's totally great – and often a bit different than his early 70s classics! Many of the numbers here have a warm glow – a sound that's never too polished, but more in the erotic side of the Morricone spectrum than the spooky one. And a few cuts feature some nice instrumental touches that really stand out – like jazzy flute, blue-tinged trumpet, and even some of those great "boing" noises that used to show up in Ennio's western scores from time to time! Titles include "Una Bossa A Cena", "Per L'Amore Si Fara", "Mezza Luce", "E Mejo De Mori Che Resta Qui", "Per Annabella", and "Una Famiglia Povera". CD

A damn soulful album from Ghanaian percussionist Rim Kwaku Obeng – recorded in LA at the end of the 70s, with loads of sweet clubby touches in the mix! Rim gets in plenty of tight percussion – lots of which showcases his rim-heavy approach to the drums – and also plays keyboards and sings a bit too – in a larger group that mixes in some very hip LA funky elements, a bit like some of the criss-crossing that Hugh Masekela did on his Chisa Records sessions! The style makes for a great bit of funky club with lots of deeper acoustic percussion elements in the sound – and titles include the massive break classic "Funky Drummer", plus "Nothing Is Free", "Spend Your Money", "Gas Line", "Sunkwa", and "Believe In Yourself". Special package – also includes the bonus 12" tracks "International Funk (voc)", and "International Funk (inst)". CD

Massive work from this funky Nigerian cat – a set that offers up a key mix of James Brown funk and home-grown elements – all in a blend that's totally unique! The 1970 album mixes together equal parts African highlife and American soul – making for a style that's heavy one minute, lighter the next – and always changing things up in a really dynamic way! Percussion plays a big role on the funkier cuts, and guitar is on most numbers too – used with a lyrical, rhythmic style on the highlife numbers – and a much more hard-vamping approach on the funkier ones. Includes killer versions of "Mother Popcorn", "Let Yourself Go", "There Was A Time", "I Feel Alright", and "Cold Sweat" – plus the tracks "Okere Gwonko", "Everybody Needs Love", "Onuro", and "Magic Feet". CD

A beautiful, late "with strings" session from Art Pepper – with piano by Stanley Cowell and Cecil McBee on bass! CD

The fantastic debut of The Pointer Sisters – an album that's a lot deeper than most of their crossover pop from years to come! At the time of the album's release, the trio were a badass group of female singers on the Bay Area scene – out to redefine the role of the girl group in soul – working not only with righteous power that was a real change from modes of the 60s – but also this trans-temporal quality that had them reaching back with ease for references from decades past, which also includes a surprising amount of jazz! The highlight here is the group's classic funky break version of Allen Toussaint's "Yes We Can Can" – and other titles include "Naked Food", "Wang Dang Doodle", "Sugar", "Pains & Tears", "Jada", "River Boulevard", and "Cloudburst". CD

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A long-lost performance by Sun Ra and the Arkestra – recorded in Amsterdam at the start of the 70s, when the group were brought in by avant saxophonist Hans Dulfer for a special performance! This album marks the first-ever issue of the material, from rediscovered tapes that finally present the group on that night in all of their glory – a horn-heavy version of the Arkestra with Danny Davis, Danny Ray Thompson, Marshall Allen, Pat Patrick, and John Gilmore on reeds – as well as Kwame Hadi and Akh Tal Ebah on trumpets, June Tyson on vocals, and a surprise appearance from Alan Silva on cello, bass, viola, and violin! Ra himself plays moog, rocksichord, piano, and the Spacemaster organ – and the group has plenty of percussion, and a rich sound that really resonates strongly in the legendary venue. Titles include an early reading of "Space Is The Place" – plus "Watusa", "Walking On The Moon", "Paradiso Improviso #1", "We Travel The Spaceways", "Theme From The Stargazers", "The Solar Moog Approach", and "Second Stop Is Jupiter". CD

2 lost classics by Sun Ra on one CD! Visits Planet Earth features music that was recorded by The Arkestra in Chicago in 1957 and 1958. Some of the tracks are from the same session as the Sound Of Joy LP, and a few others were from sessions later in the year. Ra plays piano and "solar piano", and the group's got some added percussion and tympani. Along with the usual suspects, James Spaulding also sits in with the group on a few tracks, playing both alto and flute. Titles include "Eve", "Overtones Of China", "Two Tones", and "El Viktor". Interstellar Low Ways is a record that features material was recorded in 1959 and 1960, but unissued until the mid 60's. Ra plays piano, chimes, and gong, and the tracks have a nice laid back spacey feel, with some ensemble vocals chanted by the group. Ronnie Boykins also plays the space gong on one cut, which sounds very nice. Cuts include "Somewhere In Space", "Space Loneliness", "Space Aura", and "Interplanetary Music". CD

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Legendary work from the British jazz scene of the early 70s – served up here by a group of important players who made some amazing music in the years before, two of whom would leave the planet not long after these legendary recordings! Splinters never issued a full album at the time – partly due to the loss of some members – but their music represents this key crossroads in all the development that had taken place in UK jazz during the crucial late 60s/early 70s years – maybe no surprise, given that the lineup features drums from Phil Seamen and John Stevens, who each are recorded in a different channel – plus tenor and flute from Tubby Hayes, alto from Trevor Watts, trumpet and flugelhorn from Kenny Wheeler, and bass from Jeff Clyne. The great Stan Tracey also plays piano on most tracks – and all the musicians are very much opening up their bag, even sounding more expressively experimental than on some of their famous studio sides from the period. The package features two rare live recordings from the short-lived group – 9 tracks recorded at the 100 Club, and 6 more recorded at Grass Roots. This is a very limited edition 3 CD set – housed in 12" square, 34 page hardcover book – with dozens of previously unseen images from the 100 Club and Grass Roots shows by legendary British jazz photographer Jak Kilby, and an extensive essay on the history of the group by Simon Spillett including interviews with Trevor Watts, Jeff Clyne, and Clark Tracey. CD

This bossa LP on Columbia is pretty good stuff! The record was recorded with some of Brazil's best bossa players – like Luiz Bonfa, Roberto Menescal, and Luiz Eca (of Tamba Trio fame). John Hammond produced the session, so you can be sure it's got the kind of rootsy sound that will make the tracks have a bit more kick than if the album was in the hands of a regular pop-bossa producer. Titles include "Avion", "Reza", "Vagamente", "Ela E Carioca", "Zomba", and "Alem Da Imaginacao". CD

Jerri Winters gets some hip backings here – thanks to help from the Al Belletto Sextet, who almost share the star spotlight on the record as much as Jerri! The combo are perhaps best known for their 50s work on Capitol, but they sound equally great here – stepping out with a tight sound that must have made them a great act to catch live in a club! And in addition to the combo's instrumentation – which includes alto sax, piano, trombone, and trumpet – the group also harmonize a bit behind Jerri's vocals – supporting her with a sound that's sort of a groovy 50s update on the older 40s mode of matching a female lead with a male harmony group. Don't let all this praise of the Belletto group take away from Winters, though – because she steps out strongly too – and really makes the album sparkle with a personal take on some lesser-remembered standards. Titles include "In Other Words", "Crazy In The Night", "Kind Of Moody", "Ridin On The Moon", "Dark Shadows", "Sometimes I'm Happy", and "It's Always You". CD

A totally cool little set, and one that takes us back to the kind of commercials they used to play at the drive-in theaters between two different movies in a long double-feature! The tracks here are all short, playful little tunes with plenty of 60s elements – sometimes jazzy, sometimes groovy – extolling the virtues of popcorn, pizza, Pepsi, and anything else you might want to whet your whistle or tame your stomach during the course of a long cinematic experience! As you'd guess from Something Wild, a lot of great research went into this project – and there's some surprising artists in the lineup, doing work you never would have imagined. The whole thing feels like a package of mini audio cartoons – very cool throughout! CD

Music for bassoon and oboe by Francaix, Rossini, Villa-Lobos, and Previn. CD

Includes compositions by John Cage, Mark Osborn, Mark Andre, Toshio Hosokawa, Gerald Eckert and others. CD

Features work by Agustus Pablo, Enkuli, Rockers All Stars, Yami Bolo, Icho Candy, Blacka T, and others! CD

A stunning selection of tracks from a moment when things really got interesting on the UK scene – when the straighter guitar lines of early punk gave way to more unfamiliar instrumentation, unusual production, and offbeat rhythms – yet almost always with a really raw, stripped-down feel – thanks to the indie placement of most of these cuts! Some of the material is work that would later become known as post-punk, and referenced as a huge influence on later groups – but as with most Bob Stanley/Pete Wiggs collections, there's something here that goes way past the ordinary – as the set list is filled with all these great twists and turns, and some wonderful surprises that come from cuts that were issued on some of the much smaller labels of the period, compared to bigger indies like Rough Trade or Fast Product. The music's got a raw, experimental edge throughout – and Stanley and Wiggs provide plenty of illuminating notes – to support this package of 24 tracks that includes "Somebody" by Frankie's Crew, "Small Hours" by Karl's Empty Body, "Work" by Blue Orchids, "Violence Grows" by Fatal Microbes, "Where Were You" by The Mekons, "The Terraplane Fixation" by Animals & Men, "Bored Housewives" by Androids Of Mu, "Can't Cheat Karma" by Zounds, "No Forgetting" by Manchester Mekon, "Drink Problem" by Thin Yoghurts, "The Sideways Man" by The Digital Dinosaurs, "Different Story" by Tarzan, "Production Line" by The Door & The Window, and "The Window's Broken" by Human Cabbages. CD

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An obscure soul group, but a great one – equally at home with a fragile harmony tune as they were with more uptempo groovers for the dancefloor! This one and only album from Act One is a perfect illustration of the best two sides of the east coast indie soul scene of the early 70s – because some tunes are spare, simple, and heartbreaking – really building off the best qualities of 60s harmony soul, but with a lot more sophistication – while others are bolder, more upbeat, and positive – really using the new studio modes of the time to send a few tunes really over the top! The mix is quite similar to Black Ivory at their best – although the album's more under-discovered treasure – and although it's the only record ever by the group, it's got a solidity that should have made them as big as any of the 70s stars on Atlantic or Philly International! Titles include "Goodbye Love", "Friends Or Lovers", "Tom the Peeper", "Party Hardy People", "I Don't Want To Know What You Do To Me", "Still Waters", "It's The Same Old Story", and "Love's Got Your Mind". CD also features the bonus tracks "I Never Had A Love Like Yours", "A Whole Love Of Love Makin", and "It Takes Both Of Us". CD

CTI Records meets that Brazilian fusion sound of the 70s – served up here on two classic albums! Fingers is one of Airto's greatest records ever – a really hard hitting batch of tracks that mix sharp-edged fusion lines with some earthier Brazilian percussion touches – all in a way that nicely steps off of Airto's first few American releases, and warms the groove up with a nice dose of California soul! Flora Purim joins in here on both vocals and percussion – and the rest of the group features Hugo Fattoruso on keyboards and harmonica, Jorgte Fattoruso on drums, and David Amaro on both electric and acoustic guitars – shifting nicely between both instruments in a way that further underscores the blended vibe of the record! Most of these tracks are Airto classics – like "Tombo in 7/4", "San Francisco River", "Romance Of Death", "Ringers", and "Wind Chant" – and the record has a very sweet CTI production style, but is still rough enough around the edges to keep things nice and real! Deodato In Concert is an excellent little live set from Deodato – hard to believe because the sound's just as tight and funky as his studio albums, and possibly even more interesting because he manages to pull it off equally well in a live setting! The record features percussion by Airto, guitar by John Tropea, and vocals by Flora Purim – and those are just the marquee names of a large and amazing grew of great musicians! All tracks are long and complicated, for very hynotic feel throughout. The funkiest number is "Tropea", which has a nice long 8 minute groove – and the set also features a cover of Steely Dan's "Do It Again", plus the tracks "Parana", "Branches", "Baubles, Bangles And Beads" and "Skyscraper". Amazing! CD

With Andrew Sharpley on sampler and turntables. CD

Incredible early work from Lorez Alexandria – the kind of albums that instantly set her apart from other singers of the 50s, reissued here properly for the first time in years! On This Is Lorez, the singer is working with sublime small combo backings from the group of pianist King Fleming – an unusual Chicago ensemble that includes Wilber Wynn on guitar, Ronald Wilson on flute and oboe, Vernel Fournier on drums, and Audrey Jones on bongos – a musical lineup that brings in a different sort of sophistication to the record, shading tunes with moody colors on flute and oboe that perfectly support Alexandria's soulful and sensitive interpretations of the tunes. The whole thing is pure genius, and a key look at the new levels of sophistication that were bubbling everywhere on the Chicago scene during the years of Jamal and Sun Ra. Lorez Sings Pres follows in a very similar mode – with backing by a Chicago group that again includes King Fleming piano, plus Charles Stepney on vibes, Paul Serrano on trumpet, and Vernel Fournier on drums – an extremely hip lineup that makes the record far more than just the Lester Young tribute promised in the title! But despite the instrumentalists, the real star on all sides is Alexandria – who sings with dark tones and deep colors that go far beyond conventional jazz vocals – all carried off with that slightly breathy mode that was one more unique aspect of her work! CD features all tracks from both albums – a total of 22 titles that include "Snowstorm", "I'm Glad There Is You", "The Sky Is Crying", "I'm Making Believe", "Necessity", "Penthouse Serenade", "DB Blues", "This Year's Kisses", "Easy Living", "No Eyes Blues", "Jumping With Symphony Sid", and a key early reading of "Baltimore Oriole". CD

More a retrospective of Celi Bee's best disco work than a true greatest hits collection – but plenty darn great nonetheless, given her flair for a catchy, kitschy club tune! Celi's definitely one of the campiest talents of her generation – but she's also plenty darn comfortable in that role too, and brings a sense of poise and presence to these tunes that really makes them work. She's clearly not one of the most soulful divas in the disco, but she's also clearly very much at home on the dancefloor – and shows a great talent here for rising above the crowds with her freewheeling interpretations of the tunes! CD features a whopping 14 tracks in all – maybe all the titles Celi ever recorded during her big years – and selections include "Superman", "Fly Me On The Wings Of Love", "One Love", "Macho", "Closer Closer", "Comin Up Strong", "Alternating Currents", "Blow My Mind", "For The Love Of My Man", and "Half A Love". CD

One of David Behrman's coolest albums – a set of wonderful electronics that really lives up to the strange image on the cover – music that moves in these open, blocky passages that maybe take off from the future sound of the German electronic scene of the 70s, but which also have a starker, more spacey vibe overall! The long title track "Leapday Night" features trumpet from Rhys Chatham and Ben Neill – the latter of whom also plays "mutantrumpet" – and the use of those instruments almost links the work to that of Jon Hassell during the time, but with the electronics from Behrman much more at the core. The album also features the long "Interspecies Smalltalk" – which has similar blocky electronics, pulsating back and forth – mixed with violin from Takehisa Kosugi. CD also features one long bonus track – "Berlin NY" – with sound effects from Clara Mondshine, and keyboard improvisation from Jakino! CD

Blue Effect are down to a trio for this early 80s album, but that smaller lineup seems to allow even more space for instrumental interplay and well-crafted solos – served up by Radim Hladik on guitars, Vladimir Cech on drums and percussion, and Lesek Semelka on Moog and Korg keyboards, plus vocals as well! The production is clean, but never commercial – just really letting the longform tunes spin out with plenty of well-played lines – on titles that include "Triatricet", "Obcasna Panska Jizda", "Kohoutek Kamaradstvi Dokapava", and "Avignonske Slecny Z Prahy". CD features 6 bonus tracks – including "Nezna", "Zahada Jmeli", and "Doktor". CD

One of the last recordings ever made by the genius trumpeter Jaimie Branch – and a set that shows the bold new direction she was going in, right before she left our planet all too soon! The music here leaps forward from any of Branch's earlier recordings – with harder rhythms, more focus in the driving quality of the music, and even some lyrical passages that are quite stunning – vocals that add a lot to the music, and which could have had Jaimie finding an audience in a world far past just jazz! The core group is incredible – the drums of Chad Taylor have never been so powerful, urged on by the bass work of Jason Ajemian – and folded beautifully with the cello, voice, marimba, and keyboards of Lester St Louis. Branch herself also plays keyboards and percussion – and Daniel Villareal guests on some additional percussion too – and the whole thing comes together with an incredible sense of energy and vision, at a level that has us missing Jaimie's presence on the planet even more than before. Titles include "Aurora Rising", "Take Over The World", "Baba Louie", "Burning Grey", "The Mountain", and "Borealis Dancing". CD

Trumpeter Jaimie Branch has been giving us great music for a number of years – but honestly, she really knocks it out of the park on this live set – a record that's even more amazing than her previous two efforts with a similar title! The set's a double-length performance – and Branch's trumpet is really just a small part of the sound – as the quartet work together in these really amazing ways – with a well-blended sound that moves into all this sonic territory way more than familiar jazz – thanks to brilliant contributions from Chad Taylor on drums and mbira, Lester St Louis on cello and cymbal, and Jason Ajemian on bass – all players who really move around a lot, shift the sound of their instruments, and step into the brilliantly creative territory opened up by the leader! Titles include "Prayer For Amerikka (parts 1 & 2)", "Twenty Three N Me (Jupiter redux)", "Reflections On A Broken Sea", "Birds Of Paradise", "Leaves Of Glass", "The Storm", "Walzer", "Sun Tines", and "Theme 001". CD

Anthony Braxton heads up a saxophone quartet here, in case you couldn't guess from the title – and the group features some especially great work from Ingrid Laubrock, who blows soprano and tenor on three of the album's four CDs! The set features four different performances recorded in 2022, all live and in Europe – with a lineup that also features James Fei on sopranino and alto saxes, Chris Jonas on alto and tenor, and Andre Vida on baritone, tenor, and soprano on the one CD that does not feature Laubrock. The tunes are all Braxton compositions – numbered 436 through 439 – but as always with his work, the performances are very improvised and free, with some interplay between the reeds that goes way farther than earlier sax quartet modes! That is, nobody feels as if they have to provide rhythm or melody at all – and Braxton himself really lets loose – adding some electronics to his work on alto, soprano, and sopranino. 4CD set includes a great 40 page book, with photos and an essay on the music! CD

A bit of hard rock, a bit of freakbeat, and a plenty darn great album from Bulldog Breed – one that's got a lot more edge than you might expect from the slightly corny cover! The album's an obscure Decca release from the tail end of the 60s – and like some of the other more revolutionary Decca sides of the time, it's got a really free approach to the structure of the music – unexpected twists and turns that keep things interesting, as the album unravels through a tapestry of shorter tunes that mix sweet moments with much harder ones! Some tracks are heavy in fuzz, both on guitars and vocals – while others are far gentler, but with a really dark undercurrent. Titles include "Paper Man", "Broomstick Ride", "When The Sun Stands Still", "Friday Hill", "Reborn", "Dougal", "Austin Osmanspare", and "Top O The Pops Cock". CD features 2 bonus tracks – "Halo In My Hair" and "Porticullis Gate". CD

A sublime blend of jazz and organic sounds from multi-instrumentalist Bex Burch – a record that sounds as if it might have come from the studio of Carlos Nino, but which almost has a more personal, poetic sort of quality! There are some sounds of nature here – including bird calls from a sanctuary in Illinois – and even the more familiar instruments, like piano, drums, reeds, violin, or bass are often mixed with some "room" elements that really locate the recording in a special place – in ways that also seem to have some of that post-studio touches around the edges that we love from the International Anthem label. Burch clearly delivers most of the sound herself, almost doing an "in residence" to create the music – but she gets help along the way from guests who include Ben LaMar Gay, Dan Bitney, Rob Frye, Anna Butterss, and Macie Stewart – on titles that include "When Love Begins", "Don't Go Back To Sleep", "Dawn Blessings", "Follow Me I Make You Happy", "Start Before You're Ready", "Pardieu", and "If I Was You I'd Be Doing Exactly The Same". CD

One of Donald Byrd's first albums on Blue Note – tight, soulful, and a firm statement of hardbop truth – a record that showed that Byrd was firmly on the map! The ensemble features Jackie McLean on alto, and the rhythm section includes Duke Pearson, Doug Watkins, and Lex Humphries – all of whom bring in a sense of lyrical interplay that really shows off a newer side of Byrd's trumpet that didn't emerge in earlier 50s recordings – one that opens up in the individuality of the Blue Note mode, and shakes off some of the more academic trappings of his early work with Gigi Gryce. All tunes are proud originals by Byrd himself – written with a real sense of color, tone, and timing – and titles include "Bup A Loup", "Funky Mama", "Lament", and "Amen". CD

Uri Caine on piano, James Genus on bass, and Ralph Peterson Jr on drums. CD

Uri Caine on piano, Joyce Hammann on violin, Chris Speed on clarinet, Ralph Alessi on trumpet, Nguyen Le on electric guitar, Dj Olive on turntables, Drew Gress on double bass, and Jim Black on drums. CD

Uri Caine on piano, Drew Gress on bass, and Ben Perowsky on drums. CD

Sublime stuff! Sure, it's easy to sit back and say that you don't really dig Ray Charles albums that mix together country music and soul, and that you prefer his hard raw raunchy Atlantic recordings from the earlier days. But let's be honest, Ray really made his biggest splash with this stuff – and although it became extremely popular over the years, it's also part of a huge country soul tradition that's a very accurate representation of the rich crossover culture going on in southern soul, a tradition that for some reason always gets underplayed by folks who want to carve up the world in easy racial lines. Truth is, Ray was not the only soul artist to embrace country, and we can think of a host of others – including Solomon Burke, Ivory Joe Hunter, Joe Simon, Clarence Carter, Brook Benton, and Bobby Womack who all participated in this rich tradition. This set's essential if you're interested in checking out this side of Ray's career – and the price is pretty nice, considering that you get 4CDs, a great book, and 92 songs in all! Work is pulled from Ray's classic ABC sides in the format, plus others from before and after that generation. Titles include "A Born Loser", "I'm Movin On", "Busted", "Crying Time", "Teardrops In My Heart", "Half As Much", "No Letter Today", "Oh Lonesome Me", "Ring Of Fire", "What Am I Living For", "Let Your Love Flow", "Down In The Valley", and "Take These Chains From My Heart". CD

Leonard Cohen's debut for Columbia, one of the most astounding first albums if its era, and to this day a towering achievement in both songwriting and myth making! The production is that perfectly haunting mix of sparseness and grandeur, with Cohen's lyricism piercing and penetrating wonderfully – his voice never sounded better, and this is certainly one of the great "lightening in a bottle" efforts that was hard to top by Cohen or anyone else in the more poetic upper levels of pop music. Includes "Suzanne", "Master Song", "Winter Lady", "The Stranger Song", "Sisters Of Mercy", "So Long, Marianne", "Hey, That's No Way To Say Goodbye", "Stories Of The Street", "Teachers", and "One Of Us Cannot Be Wrong". CD features two bonus tracks – "Store Room" and "Blessed Is The Memory". CD

A classic set of interlocking tenor work from 3 giants who made up the best part of Woody Herman's classic 4 horn lineup – Al Cohn, Bill Perkins, and Richie Kamuca – all coming together here in small group formation! The album's a wonderful example of the way that the hornplay of the larger Herman group had an influence on the smaller combos of the west coast scene – and Perkins and Kamuca are especially great here, working with a strong sense of precision, but also some nice humanity in their tone. Other group members include either Jimmy Raney or Barry Galbraith on guitar, Hank Jones on piano, John Beal on bass, and Chuck Flores on drums – and titles include "Cap Snapper", "Pro Ex", "Hags", "Gay Blade", and "The Walrus". This CD offers up the complete sessions, and features a number of extra tracks! CD

An incredible treasure from a lost vocal jazz genius – the little-known Bobby Cole, every bit as great a singer as he was a songwriter, very unusual for the time! Bobby was probably best remembered as the house pianist at Jillys, but at the time of this 1964 recording, he was poised to emerge as a serious vocalist with a rich talent for penning interesting and witty little tunes. The album's got Bobby singing in a style that's halfway between Matt Dennis and Mark Murphy – with the sophisticated talents of both in place, and perhaps a bit of the wit of Bob Dorough or Roy Kral. The original album features Bobby on piano and vocals, with only bass and drums behind him – and the CD features a bonus 6 tracks recorded in more recent years, with larger backings. The core album is completely brilliant – the kind of off-kilter vocal record we die for – and every track's a fresh original by Bobby! Titles include "You Can't Build A Life On A Look", "Heat", "You Could Hear A Pin Drop", "Change Of Scene", "A Perfect Day", "Elegy For Eve", and "Status Quo". CD

One of the best albums ever from reedman Buddy Collette – a great small group session with a harder edge than some of Buddy's later records for bigger labels! Collette was always one of the more interesting players from the LA scene of the 50s – and although he had his roots in harder jazz styles, he also played a lot of studio sessions – and had an amazing ability to shift through different modes and settings with effortless ease – and also shift his work on different reed instruments too! This album's a nice mix of both sides of his style – with some cuts that have Collette playing flute or clarinet with a lyrical groove, and some more hard-blowing tracks that feature alto and tenor – in a cool quintet that features Gerald Wilson on trumpet, Al Viola on guitar, Wilfred Middlebrook on bass, and Earl Palmer on drums The session's a darn tough one to find, despite its importance in Collette's career – and titles include "Walkin' Willie", "Changes", "The Cute Monster", and "Orlando Blues". CD features a bonus track – "Soft Touch (take 5)". CD

A pair of albums from this near-forgotten group – both originally issued by Elektra, and presented here with bonus tracks too! First up is the self-titled Crabby Appleton – a set that's got a surprising sort of late psych vibe at times – almost as if the group were hanging on to some of the modes that first got them started, while also stretching out with some of the new sophistication that the 70s had to offer! That psych touch is maybe no surprise, though, given that the group's singer Michael Fennelly was in The Millennium – and works here with some heavier rockers who were in Stonehenge – all in a surprising mix of modes that really keeps things interesting throughout! Titles include the big single "Go Back", plus "Peace By Peace", "To All My Friends", "Some Madness", "Hunger For Love", "Last Night In Your Sleep Fred", "Some Madness", and "The Other Side". Next is Rotten To The Core, the second and last album from Crabby Appleton, and a record that's got the group picking up some harder edges than before – shedding some of the lighter psych elements for harder modes on the downturning grooves, almost as if the group had some blues inspirations they didn't showcase the first time around! The shift is one that has us almost thinking that the group could have hit the heights of 70s AM rock, had they held the course – with lots of surprising nuggets throughout, in a set list that includes "Makes No Difference", "Lucy", "It's So Hard", "Tomorrow's A New Day", "You Make Me Hot", "Gonna Save You", and "Love Can Change Everything". 2CD set features bonus material – "Go Back (alt mono single)", "Try (alt mono single)", "My Little Lucy (alt mono single)", "Some Madness (mono single)", "Can't Live My Life (alt mono single)", "Grab On", "Tomorrow's A New Day (alt mono single)", and "It's So Hard (alt mono single)". CD

It's past the disco years, and Crown Heights Affair have emerged nicely – with a sweet modern soul style that's got a bit of 80s groove, and which shows a lot more soul than some of their earlier work! The band's singing in a sweet harmony style that works very well with the music – and we might be tempted to compare this one to some of the great early 80s Philly International work by The Stylistics and The Futures! Titles include "Heart Upside Down", "Somebody Tell Me What To Do", "Let Me Ride On The Wave Of Your Love", and "I Got Somethin For Ya". CD features three bonus tracks – "Let Me Ride On The Waves Of Your Love (orig 12" version)", "Somebody Tell Me What To Do (single version)", and "Wine & Dine You (single version)". CD

A really unique document of the struggle and story of Angela Davis – recorded in 1971 by ABC news, and packaged together here as kind of a sonic program by Folkways! The record works like a short news program – starting out with a statement by Angela, then moving to a narrated introduction, then a long interview conducted by Joe Walker of Muhammad Speaks. Side two continues with a panel discussion on the case, then ends with some very cool "man in the street" style interviews! Capped off with a really great cover photo of Angela too! CD

An amazing piece of work from Angel Bat Dawid – music that's light years ahead from her recordings of just a few years back – and that's really saying a lot, given the strength of that material! The album features music from a large stage performance put together by Angel – partly inspired by the legendary film The Cry Of Jazz – done by director Edward Bland at the end of the 50s, with music by Sun Ra, and groundbreaking testament on the nature of jazz and black expression in America. The film has been a touchstone for us for decades – yet somehow, Angel finds a way to to channel all its power and explode its meaning and message into something even more powerful – directing a larger group of musicians and singers with a stunningly majestic quality – one that is sure to elevate Dawid into the upper reaches of jazz for years to come. An instant masterpiece, and a record that will become a touchstone for both jazz and contemporary music in general – with titles that include "Introit", "Dias Ire", "Rex Tremendae", "Recordare", "Confutatis", "Lacrimosa", "Kyrie Eleison", "Agnus Dei", and "Lux Aeterna". CD

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

A classic set of jazz vocals from Blossom Dearie – recorded at Ronnie Scott's nightclub when she was living in London during the 60s! The set's got a nice intimate feel, and is one of Blossom's best-ever jazz recordings – a bit more live and hip than some of her Verve material, with backing from Jeff Clyne on bass and Johnnie Butts n drums. The record has little of the cocktail sound that marred some of her other releases, and more of the swinging jazz piano and vocals that you find on her best work. Blossom's voice is as unique as always, and the set's got some great groovy numbers, like "I'm Hip", "Once Upon A Summertime", "When In Rome", and "The Shape Of Things". Very nice vibe, with a good live feel and lots of interaction with the audience! CD features the bonus track "Cornflower Lavender Wallflower Blue (mono)". CD

Includes the original concert film by DA Pennebaker, bonus videos, interviews with the band, the original concert audio on 2 CDs, hi-res stereo and surround mixes of the original album, plus a behind the scenes photo book and other goodies! CD

The notes on the cover use the term "Latinx Futurist" to refer to the work of Dos Santos – and that may be one of the best ways we've ever heard to describe their really unique blend of modes – served up here with a sound that firmly places the group at the crossroads of some great contemporary currents of music! Instrumentation is a familiar blend of percussion, guitar, and keyboards – but the presentation is nicely unique – as echoes of older Latin styles come into play with more creative elements, all in a small combo mode that's produced to perfection by Elliot Bergman – who did plenty of his own genre-crossing work in the group Nomo over the years. Lead vocals are by Alex Chavez, a really wonderful singer – and titles include "Shot In The Dark", "City Of Mirrors", "Palo Santo", "Jaguar De Rosas", "Lejos De Ti", and "Glorieta". CD

A lost Duke Ellington gem from the late 50s – a session that has a decidedly different look than some of his other records of the time! We don't know if the Duke was into Sun Ra – but it almost seems like he was copping his thunder with this title and band name – a fair bit more flashy than the usual presentation for the Ellington group! The record's not nearly as trippy as you'd expect – but it's still a prime set of Ellingtonia from those key late 50s years – material played by a smaller group of "Spacemen" than Duke's fuller orchestra – with a bit more room for small group interaction, almost in a Verve mode. Players include Jimmy Hamilton on clarinet, Clark Terry on trumpet, Paul Gonzalves on tenor, Quentin Jackson on trombone, and Jimmy Woode on bass – and titles include "Avalon", "Midnight Sun", "Spacemen", "Bass-ment", "Early Autumn", and "Jones". CD also features a bonus alternate take of "Jones". CD

Although Gil Evans is probably best remembered for his work behind Miles Davis, the albums he cut on his own are actually even more interesting, and feature a far-reaching conception of modern jazz, executed by Evans, and some of the top players of his day. This great album from 1964 features a host of wonderful musicians – including Steve Lacy, Eric Dolphy, Johnny Coles, and Wayne Shorter. The set includes mostly original compositions by Evans, like "Las Vegas Tango", "El Toreador", "Flute Song", and "Hotel Me" – all of them a shimmering blend of free solos and tightly composed orchestral passages, filled with rich colors and shades of warm imagination! Plus, this CD also includes a huge amount of extra tracks, either unreleased, or longer versions – including "Time Of The Barracudas", "Spoofull", "Nothing Like You", and "Proclamation"! CD

Incredible work by The Exciters – material we totally love to death, most of which is a lot harder-hitting than the group's earlier hits in the 60s! The package pulls together their post-UA recordings for the Bang, Shout, and RCA labels – the first to of which are represented by singles, the last by a full LP and some great extra material from 45s – all of which is really incredible stuff that moves way past any pop soul expectations you may have! Production is by Bert Berns on the non-RCA material, and Larry Banks on the RCA sides – and both producers bring an incredibly hip sound to the recordings, mixing the unique deep soul lead of Brenda Reid with some very groovy backings – arranged by Artie Butler, George Patterson, and Teacho Wiltshire, all of whom bring something unique to the mix. The force of these sides is amazing – almost a revolution in female soul, captured in the history of one group – and the booklet features very full notes on the girls, culled from interviews, and telling the story of their legendary years in the 60s. CD contains all of the legendary Caviar & Chitlins LP, plus lots of singles – 21 tracks that include "Take One Step I'll Take Two", "Soul Motion", "Number One", "A Little Bit Of Soap", "Number One", "You Don't Know What You're Missing", "Blowing Up My Mind", "Movin Too Slow", "Turn Me On", "A Year Ago", "You Got Me", "Always", "Fight That Feelin", "Give It All", and "Weddings Make Me Cry". CD

An early moment of genius from the young Clare Fischer – one of his first sets for a larger ensemble, and the start of years of great work to come! Previous Pacific Jazz sessions featured Fischer in a piano trio – but this album lets Clare loose on a host of his own inventive arrangements – a set of charts and compositions that easily move between the modern and the groovy – sometimes using offbeat tones and sounds that rival the best that Ellington or Gil Evans had to offer – other times coming across with this fluidity that's a perfect summation of the way that Fischer pulled together all of the California cool of the 50s, and managed to come up with something completely fresh for the 60s! The modern edges will come as a real surprise to those who only know Fischer's more easygoing work – and in addition to Clare's own work on piano and organ, the record also features Jerry Coker on tenor, Gary Foster on tenor and clarinet, Jack Nimitz on bass clarinet and baritone, Sam Most and John Lowe on flutes, and Don Shelton on alto – all working with reed interplay that's completely sublime. Titles include "Bittersweet", "Igor", "Canto Africano", "Extension", "Passacaglia", and "Ornithardy". CD

One of the most classic albums of the 70s – a never-ending hit that's continued to inspire generations! Back in the early years of punk, we were thinking that Rumours was a record that would pass by quickly – but it turns out to have a fair bit more staying power than Never Mind The Bollocks – and continues to get new interest and new appreciation as the years go on! And, after decades, we're finally on board with the greatness of the record, and everything the group was going through, and put into the songs within – a classic lineup that includes "Dreams", "Don't Stop", "Never Going Back Again", "Go Your Own Way", "The Chain", "You Make Loving Fun", "Oh Daddy", and "Gold Dust Woman". CD

One of the few straight rock records ever issued on the mostly-folk Monitor Records label – a great 60s outing from Freeborne, a group with a sound that's as tripped-out as you might expect from the cover! Instrumentation is heavy on organ and guitars, both acoustic and electric, but there's also some cool percussion too – and interesting use of recorders, in a way that comes across with an ocarina-like charm! Vocals are somewhat soft, but have a dark undercurrent – and there's a really great folk-into-psyche sort of feel to the whole thing. Titles include "Images", "Land Of Diana", "But I Must Return To Frenzy", "Inside People", "Yellow Sky", "Peak Impressions & Thoughts", and "Visions Of My Own". CD

A full-length look at a group who only ever issued a few tracks back in the day, but who were clearly one of the leading lights of the scene way up in Minnesota during the 60s! These guys have a warmth and way of harmonizing that's a nice change from some of their contemporaries on the garagey scene – almost a slight Beatles inspiration, but hardly handled with George Martin production – as the guitars and rhythms are still plenty sharp around the edges, even while the group warm up the lyrics with some great vocal interplay! Titles include the originals "I'm Not Mad", "It Seems To Me", "When Does Linda Cry", "Savage World", "Candlelight", and "Stand By Me" – plus a great tale on the fab four tune "Things We Said Today". CD features bonus tracks – "Don't Mess Around (alt version)" and "I'll Be True" – both unissued! CD

Maybe the most haunting project to date from Ruth Goller – an important collaborator on the contemporary London scene, but one who's got a style that's much more than jazz – one that's definitely pushed to the limits here! The set features Goller on electric and acoustic bass, with overdubbed vocals that are often layered in very cool ways – and augmented track to track by guest work on drums, electronics, vibes, and sanza – instruments that are often used in ways that bring a slight touch of organic acoustic energy to the more layered proceedings. The textures of the vocals are very evocative – almost a blend of an older 4AD aesthetic with improvised music – and titles include "Next Time I Keep My Hands Down", "Below My Skin", "How To Be Free From It", "Don't Follow Me", "She Was My Own She Was Myself", and "All The Light I Have I Hand To You". CD

Firey guitar work from one of the all-time greats! Grant Green was one of the most incredible jazz guitarists of all time, and his early Blue Note work has always been some of the best guitar jazz ever recorded. With this great album, Blue Note has finally unearthed an amazing early session by Green – recorded in trio format with drummer Ben Dixon and organist John Patton. Both Patton and Green originally hailed from St. Louis, but were picked up on a tour by Lou Donaldson to join his band – and brought by Donaldson to Blue Note when the group hit New York. This set of tracks, dedicated to their boss, shows Patton and Green in sparkling interplay – trading lines with an ease, confidence, and rawness that would make most other organ/guitar teams weep with joy to achieve! The CD's a perfect one if you're a fan of Green's First Stand or Green Street albums – and it includes the tracks "Blues For Lou", "Big John", "Look At That Girl", and "This Little Girl Of Mine". CD

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A nice little album from Johnny Hartman – recorded back in the mid 50s for Bethlehem, in the years before he recorded his more famous dates for the Impulse label! The set has Johnny singing nice and mellow – with backing by a group led by pianist Ralph Sharon, one of Tony Bennett's longtime accompanists, with added trumpet by Howard McGhee – which creates some nicely moody interplay in the relatively spare setting of the session. Hartman's vocals are a dream, as always – and tracks include "What Is There To Say", "Moonlight In Vermont", "I'll Remember April", "Down In The Depths", "I Fall In Love Too Easily", and "We'll Be Together Again". CD features lots of bonus tracks – 6 more numbers that are alternate takes of songs on the set! CD

Mayer Hawthorne's looking a bit cheesy on the cover, but sounding pretty darn great within – really sparkling with those mellow soul elements that have just gotten better and better with each new release, at a level that's a plenty strong musical answers to any of the haters out there! There's a warm glow to the set – a sense of heart-ful feelings that clearly inspire Mayer in his lyrics, and which really comes through on the slower-paced tracks on the set! Titles include "Standby", "Cream Interior", "Hawthorne Rides Again", "Without You", "Physical Touch", "The Pool", "Deeper Vibration", "Tell Me", "Deuce & A Quarter", "On The Floor", and "Sweet Temptation Woman". CD features the bonus track "Eyes Of Love". CD

Jackie & Roy are definitely getting bit wilder here – hitting an electric early 70s CTI mode, and really growing a lot in the process! The session has the vocal pair working with CD players who include Hubert Laws on flute, Joe Farrell on saxes, Roy Pennington on vibes, and Steve Gadd on drums – all working with arrangements from Roy that are every bit as hip as the Don Sebesky treatments they previously got on CTI. The tracks are all longish, with plenty of room for complex vocals and great interaction with the instruments – and the titles are all originals, sounding really great and creative! Titles include "Good & Rich", "The Way We Are", "Waltz For Dana", "Niki's Song", and "A Wilder Alias". CD

Janet's massive follow up to Rhythm Nation 1814 and it's a triumph, too – delivering on all the strengths of other peak era efforts and slyly working in some stylistic detours along the way – asserting herself here as strongly as ever! Jimmy Jam and Terry Lewis once again show why they're among the most heralded pop soul producers of the era, from beats driven dancefloor jams to sexy club soul to tender ballads, but make no mistakes, this is Janet's show – this one's official title is Janet, period after all – with badass spoken interludes, vocals that soar in range of styles and an all around assertive vibe that's strong to this day. Includes "That's The Way Love Goes", "You Want This", "If", "This Time", "Throb", "What'll I Do", "Funky Big Band", "Where Are You Now", "Any Time, Any Place", "Because Of Love", "Again" and more. 2CD version features lots of bonus material – including "One More Chance", "70s Love Groove", "And On & On", "You Want This", "Where Are You Now", "Because Of Love", and "That's The Way Love Goes (CJ R&B 7" mix)". CD

The first-ever full length album from Jazzanova – and an instant classic that's been well worth the wait! For years, the group have turned out some of the most exciting singles and remixes on the international groove scene – and during all that time, they've been secretly storing away new ideas and musical thoughts for this groundbreaking debut album. The set's completely mindblowing – head and shoulders above anything else they've ever done, with a wealth of ideas and styles that we never thought them capable of. Working with a host of guest artists that include Vikter Duplaix, Capital A, Ursula Rucker, Rob Gallagher, Valerie Etienne, Dave Friedman, Doug Hammond, and others, they move far past their simple role as remix producers, and express a bold new vision – a 21st Century blend of jazz, soul, beats, and life that's impossibly hard to describe in a few short sentences. A stunner from the get-go – and shoulder-to-shoulder filled with great tracks! Titles include "No Use", "LOVE & You & I", "Fade Out", "Hanazono", "Mwela Mwela", "Keep Falling", "Cyclic", "Another New Day", "Place In Between", "Soon", "Sub Atlantic", "Glow & Glare", "Takes You Back (dub)", and "Wasted Time". CD

Rare work as a leader from drummer Osie Johnson – two sessions recorded during the heyday of his career, when he was appearing as a sideman on countless other albums! The style here is similar to some of Johnson's other session work – particularly his contributions to the labels RCA and Bethlehem – as most of the numbers are relatively tightly arranged, and given a playful, slightly modern spin that usually features a fair bit of interplay between the horns in the group. Players vary here – both between the albums, and the tracks on each set – and key musicians include Frank Wess, Thad Jones, Ernie Wilkins, Dick Katz, and Benny Powell. The CD features both albums done for the Period label – and titles include "Johnson's Whacks", "Osmosis", "Don't Bug Me Hug Me", "Midnight Mirage", "Cokernut Tree", "Blues For The Camels", "Osie's Oasis", "Cat Walk", and "Flute To Boot". CD

Easily the most hard-hitting of Blue Note's 2LP Lighthouse Live series from the early 70s – and a record that really lets Elvin Jones and his group stretch out and play! The setting is a perfect one for Jones – given the boundless energy already present on his studio sessions for Blue Note at the time – really fierce work that goes beyond even his classic Coltrane performances – pushing the limits in a sweet blend of rhythm and reeds! The group here is Elvin's razor-edge combo from the early 70s – the one that features Gene Perla on fat funky bass, and both Steve Grossman and Dave Liebman playing choppy reeds along with the grooves – really amazing hornmen at this point in their career, blowing here with interplay that's simply fantastic! Jones' leadership both draws from his years with Coltrane, yet also takes the music to key new levels – increasing the energy without blowing the top off, and creating a vivid new groove that so many others would try to cop later in the 70s – but never do this well. Titles on this second volume include "New Breed", "My Ship", and "Sweet Mama". CD

Jeremiah Chiu and Marta Sofia Honer gave us an excellent previous record on the International Anthem label – one that mixed field recordings with sounds of their own – an approach that's continued here as the pair are joined by Ariel Kalma, whose instrumentation really adds a wonderful new layer to the process! There's a mix of live instrumentation, sounds from sources, and processing going on here that takes us back to some of the best fourth world experiments from the EG/Eno years – almost like Jon Hassell, but with a lighter, airier vibe – and maybe more understated brilliance – an ego-less recording that has the musicians swirling together in beautifully sensitive territory. The set's never too quiet to be ambient, but has some of the appeal of that mode too – and titles include "Ten Hour Wave", "Dizzy Ditty", "Une Ombre Legere", "New Air", "Ecoute Au Loin", and "Stack Attack". CD

A beautiful large concept work from UK saxophonist Cassie Kinoshi – one that features a rich array of players, all folded together in a warmly spiritual sound! There's echoes of some of the other mellow work on the International Anthem label here, but also more of the righteous currents of artists on the Gondwana label – all pushed even farther into more sophisticated territory with the larger arrangements in the music – which echo a Charles Stepney sort of majesty! Kinoshi leads the group on alto sax, and the lineup features trumpets, tenor, trombone, piano, guitar, bass, and drums – mixed with light strings, and even some flute and turntables too. The album's one long work that progressed beautifully in six parts – and is completed by another live recording from Total Refreshment Centre, "Smoke In The Sun". CD