An oft-overlooked gem from Julie London – a dreamy album of Cole Porter tunes, and one that has her singing with small group backing, very much in the mode of some of her best early work for the Liberty label! The group on the album's the Bud Shank Quintet – with Shank on alto and flute, Joe Pass on guitar, Russ Freeman on piano, Monty Budwig on bass, and Colin Bailey on drums – a great little combo who give the work a light, lyrical feel, and a bit less of the sadness of other London albums. Freeman did the arrangements, and titles include "So In Love", "Get Out Of Town", "Easy To Love", "At Long Last Love", and "In The Still Of The Night". LP, Vinyl record album

Plenty of body, and even more soul – a great little groove on the record at points, in that slinky, vampy sort of mode that Julie London picked up in the 60s! The album's got Julie taking on a fair bit of R&B and bluesy numbers – still singing in her more jazz-based style, but getting a nice groove on most numbers from Kirk Stuart – balancing out some piano-led grooves with more brassy backings, all very much in the style of Peggy Lee over at Capitol in the early 60s – yet completely different too, given London's vocal approach. Titles include "Romance In The Dark", "I Got A Sweetie", "The Comeback", "Come On By", "If You Want This Love", and "Treat Me Good". CD

Mature, mellow, and totally wonderful – clear proof that Julie London was still making great music well into the 60s! The album's got a simple, unassuming charm – very much in the late nite mode you'd guess from the title, with spare backings from Don Bagley that often have a key guitar line in the mix – working along with London's vocals in the same style as the mid 50s – but with a different feel overall – a bit more mature and world-wise, which makes for a perfect fit for tunes that include "I Got It Bad", "Here's That Rainy Day", "Am I Blue", "I'll Never Smile Again", "Can't Get Out Of This Mood", and "When The Sun Comes Out". CD

Julie London's shortened her trademark tresses for the cover of this album – but as the title will tell, she's very much in the best sultry territory of her earlier years! This time around, Don Bagley's turned in some near-perfect arrangements that really bring back the London sound of the late 50s – very spare, slow-moving backdrops that are heavy on jazz, and also feature nice use of guitar – an instrument that's always worked well for Julie. Titles include the excellent "Nice Girls Don't Stay For Breakfast" – plus "I've Got A Crush On You", "There Will Never Be Another You", "I Surrender Dear", "Give A Little Whistle", "Baby Won't You Please Come Home", and the very odd "Mickey Mouse". CD

Sweet, sophisticated musings from Julie London – a set that has her taking on some of the coolest tunes from the first half of the 60s – including a fair bit of soundtrack themes too! Backings are by Richard Wess and Ernie Freeman, who each have their own distinct flavor – and help give the record a nice sort of balance between mellow and upbeat. There's loads of groovy tunes on the set – and London does a wonderful job with "Theme From A Summer Place", "More", "Never On Sunday", "An Affair To Remember", "Boy On A Dolphin", "The Second Time Around", "Charade", and "Wives & Lovers". LP, Vinyl record album

The album's got a sultry cover, but it turns out to be a surprising swinger – one of Julie London's great sessions done with Jimmy Rowles – put together with a bit more punch than some of her 50s records, and featuring some nicely playful instrumentation too! Jimmy's at his best here, and although the band's not credited, it clearly features some great west coast hornmen – who get these nice little licks in, almost adding in their own voice alongside Julie's! Titles include "Baby Come Home", "Get On The Right Track", "Tain't What You Do", "Everyday", "Yes Indeed", "Send For Me", and "Cheatin On Me". CD

A landmark album in 50s vocal jazz – spare, moody, and evocative tunes from Julie London – sung in a stripped-down setting that few other singers would dare at the time! The sound of the set is as sexy as the cover – intimate, personal, and breathily sung in a mode that comes across with a brashly adult presentation of the material. Backing only features Barney Kessel on guitar and Ray Leatherwood on bass – leaving Julie plenty of room to take over the record with her vocals – a real masterpiece of understatement, given the setting! Titles include her famous version of "Cry Me A River" – virtually THE version of the tune – plus "I Should Care", "Say It Isn't So", "Gone With The Wind", "Laura", and "Can't Help Loving That Man". LP, Vinyl record album

A great set by Julie London, from her maturing years when she was working with arranger Ernie Freeman! The End Of The World follows nicely from Julie's interpretation of the big pop hit of the same name – in territory that's sad and dreamy, but in a different way than her earlier albums on Liberty. There's a nicely boozy quality here to some of the tunes – a more mature mode that's emphasized by Ernie Freeman's backings – which are full, but gentle, and prop up Julie's singing in just the right places. Titles include "The Days Of Wine & Roses", "Our Day Will Come", "Call Me", "I Remember You", "My Coloring Book", "The End Of The World", "Chances Are", and "Desafinado". LP, Vinyl record album

Breathy vocals from the great Julie London – an album recorded early in her years on Liberty Records, but with a slightly full sound overall! Backings are by the orchestra of Pete King – a little heavy on the strings, but never too much so – just enough to give the tunes a sad-tinged sort of sound that glows and shimmers nicely behind Julie's vocals – very much in the moody feel you might expect from the trashy image of London in an alley on the cover! The set's never sleepy, and has a nicely dark undercurrent – on titles that include "Nobody's Heart", "The Exciting Life", "Something I Dreamed Last Night", "Well Sir", "In The Middle Of A Kiss", "Pousse Cafe", "Mad About The Boy", and "My Man's Gone Now". CD

Hip early work from Julie London – with full jazz orchestra backing by Russ Garcia, whose soundscapes are perfect for that dreamy style of singing she was using at the time – a blend of the sublime and sad, floating along with almost effortless ease, but hiding a huge wellspring of emotion! The album's a great illustration of the subtle talents that Julie brought to the vocal scene of the 50s – and it's a nice contrast to some of the smaller group sides done by her at the time. Bobby Troup produced the set – and the album's got versions of his songs "Meaning Of The Blues" and "The Blues Is All I Ever Had", plus the tracks "Get Set For The Blues", "Bye Bye Blues", "Bouquet Of Blues", and "Invitation To The Blues". CD

Around Midnight's just about the best time to listen to Julie London – especially given her sultry late nite style of singing! This album's one that definitely follows in that mode – setting Julie's vocals to backings by Dick Reynolds – a bit fuller than some of her earliest Liberty albums, but still quite moody, and very much in the best spirit of the album's songs of adult love and loss. The song choices are especially great too – with some key mid-century classics that include "In The Wee Small Hours Of The Morning", "Lush Life", "Lonely Night In Paris", "Something Cool", and "You & The Night & The Music". All that – and a great cover that has Julie posing as the hands of a clock! CD

A great set by Julie London, from her maturing years when she was working with arranger Ernie Freeman! The End Of The World follows nicely from Julie's interpretation of the big pop hit of the same name – in territory that's sad and dreamy, but in a different way than her earlier albums on Liberty. There's a nicely boozy quality here to some of the tunes – a more mature mode that's emphasized by Ernie Freeman's backings – which are full, but gentle, and prop up Julie's singing in just the right places. Titles include "The Days Of Wine & Roses", "Our Day Will Come", "Call Me", "I Remember You", "My Coloring Book", "The End Of The World", "Chances Are", and "Desafinado". CD

One of the greatest early albums by Julie London – a record that features sublime jazz backings from the Jimmy Rowles Orchestra, in a mode that gets way past the "breathy girl with subtle guitar" sound of her first few for Liberty! Rowles' backings bring in some really nice horn work – inflecting the tunes with subtle solos and shadings of color that deepen them past London's spare and sexy presentation of the tunes – but which also don't go too far, or force Julie to do things she's not ready to do. Bobby Troup produced, and the record's got all the subtle wit of his own best efforts – and titles include two Troup numbers, "Daddy" and "Free & Easy", plus "Somebody Loves Me", "For You", "Midnight Sun", "All My Life", "Bye Bye Blackbird", and "Dream Of You". CD

A sweet little swinger from Julie London – a record that goes for a bit of a Latin vibe, in ways that change things up nicely – and makes for more of a kick than you'd normally hear on some of the mellower records that were initially London's calling card in the 50s! Ernie Freeman handles the music, so the groove isn't really straight Latin – but more of a syncopated approach that's different from the smoother London sounds on other Liberty albums, topped with some bold trumpet flourishes and marimba bits, too – ala the sounds starting up over at A&M Records! Titles include "Perfida", "Adios", "Vaya Con Dios", "You Belong To My Heart", "Sway", and "Yours". CD

A record that has Julie London already hitting that great "Nice Girls Don't Stay For Breakfast" mode of later years – the adult, informed approach that showed that the teasing nude of the 50s had turned into a pleasing woman of the 60s – capable of frank presentation of material and assumption of desire that other singers often still just toyed with. Peter King handles the arrangements, and mixes soft strings with lighter modes to really flesh out Julie's simple but effective delivery of the tunes. Titles include "Love On The Rocks", "Where Did The Gentleman Go", "What's New", "How Did He Look", "The End Of A Love Affair", and "Where Are You". CD

Hard to imagine that Julie London would ever have to ask anyone to make love to her – at least not when she looks as sexy as this on the cover! The album's a key early classic for Liberty – still very fragile, personal, and up-close enough to make you think you might just be able to jump inside the cover and spend the night with Julie! Russ Garcia handles the backings with great care – a bit of gentle strings here, some light jazz there – but always letting London's breathy vocals come up very high in the mix. Titles include "Go Slow", "Lover Man", "Body & Soul", "Snuggled On Your Shoulder", and "Make Love To Me". CD

Julie London's got her hair up, and is wearing a classy gown – so you can bet that the feel of the record definitely follows through with the "sophisticated" promise of the title! Things are as mellow as on London's early classics for Liberty, but there's a bit more of an orchestrated feel too – fuller backings that couch her lovely vocals in a near-perfect array of strings – usually quite gentle, and often breaking away to give Julie that personal, solitary space that usually has her singing at her best. Titles include "Make It Another Old Fashioned Please", "Sophisticated Lady", "Remind Me", "You're Blase", "Spring Can Really Hang You Up The Most", and "Absent Minded Me". CD

Money, minks, and a diamond tiara – whatever Julie wants, it's pretty well laid out in the album's cover image! The set's a slinky swinger that definitely follows in the spirit of the title track "Whatever Lola Wants" – that postwar vampy sort of groove that Peggy Lee was doing so well over at Capitol – a natural fit here for Julie London, given the naturally sensuous quality of her singing! The backings have just the right sort of sexy bounce for the themes – and London sexes it up even more than usual, really adding some great life to tunes that include "Love For Sale", "Why Don't You Do Right", "My Heart Belongs To Daddy", "Take Back Your Mink", "Diamonds Are A Girls Best Friend", and "An Occasional Man". CD

Compelling duets between guitarists Larry Coryell and Philip Catherine – a studio album recorded in London, hot on the heels of their performance together at the Berliner Jazztage! Although known for their electric musings at the time, both players work here mostly in an acoustic mode – creating beautifully intimate interplay without any other instrumentation at all – in ways that are mostly jazzy, but which also echo the evolution of the guitar during the decade in other genres as well. Titles include "Ms Julie", "Home Comings", "Airpower", "Twin House", "Mortgage On Your Soul", and "Gloryell". LP, Vinyl record album

One of the coolest soundtracks of the 60s – presented here in a massive package that brings forth a wealth of never-reissued music! Piero Piccioni really hit his stride for the music to this film that was directed by its star – the effervescent Alberto Sordi – a fantastic send-up on the London scene of the time, set to a range of modly romping tunes! Piccioni handled the main music – often with loads of great piano and organ lines – but there's also some great vocal moments too, sung by Lydia MacDonald, Julie Rogers, and even Sordi – and the record also features a few touches from I Cantori Moderni, and a bit of music from Ennio Morricone too. Titles include the wonderful "Mr Dante Fontana", a nutty groover about the mod fashion scene in London – and it also features the famous tracks "Richmond Bridge" and "You Never Told Me". Titles include a few versions of "Fontana" and "Richmond", plus "Ascot Dream", "Magic Castle", "Tango Walk", "Drag Beat", "This Is Life", "Palace Parade March", "Babylon, I'm Coming", and "His Dream Has Come True". 3CD set features the full original album in both mono and stereo – plus 71 bonus tracks from the film score! CD

A really special sort of collection – one that features a fair bit of new material mixed in with some of the key cuts from the Blue Note years of singer Gregory Porter – an artist who started in jazz, but who's clearly had a huge impact on the world of soul music in recent years too! Porter's got a hell of a voice, and a majestic way of presenting his music – as you'll hear on the wide variety of work included here! The first half of the record features four new tracks, a few new arrangements and covers, and some older Blue Note material – titles that include "Dry Bones", "Illusion", "Real Good Hands", "Love Runs Deeper", "It's Probably Me", "No Love Dying", "1960 What", "Concorde", "If Love Is Overrated", "Why Does My Heart Feel So Bad", and "Bad Girl Love". CD2 features duets – some freshly recorded, others that use studio work to add Porter's voice to now-passed singers – a lineup that includes songs with Jamie Cullum, Ella Fitzgerald, Moby, Julie London, Lalah Hathaway, Lizz Wright, Nat King Cole, Lisa Fischer, Dianne Reeves, and Renee Fleming. CD

The deepest work to date from Vibration Black Finger – a group headed up by UK drummer Lascelle Gordon, and who effortlessly mix together acoustic jazz elements and other sonic elements – very much in the best spirit of some of their contemporaries on the London scene! Gordon's drums and percussion are at the core of each number – but the instrumentation shifts a fair bit as the set goes on – with flute, piano, keyboards, reeds, and bass from a variety of different guests – including Nat Birchall on tenor and Julie Kjaer on alto and flute! There's a few vocal moments – courtesy of the great Maggie Nicols and Ebony Rose – but most of the set is instrumental, and titles include "Soul Fire", "Only In A Dream", "Persia & Cornelius", "Twelve Wire Byrd", "Gutkind's Dream", "Can't You See What I'm Trying To Say", "Acting For Liberation", and "Empty Streets". CD

One of the coolest soundtracks ever for a Burt Reynolds film – an a hip mix of soul and jazz tracks that's gone onto become a classic over the years! The album's a compilation of sorts, but most of the material was recorded fresh for the film – and the different artists really work together here to forge some great backdrops for the action on the screen! Al Capps handled the larger charts, but most numbers really spotlight an individual artist – and highlights include Randy Crawford singing a new version of "Street Life" – different than the one with The Crusaders – Sarah Vaughan singing "Love Theme From Sharky's Machine", Peggy Lee vocals on "Let's Keep Dancing", and Julie London singing "My Funny Valentine" – as one of the first recordings after many years of retirement. Other great numbers include "Dope Bust" by Flora Purim & Buddy DeFranco, "Sharky's Theme" by Eddie Harris, "Before You" by Sarah Vaughan & Joe Williams, "8 To 5 I Lose" by Joe Williams, and the instrumental cuts "Sexercise" and "High Energy" by Doc Severinsen. LP, Vinyl record album

A well-done look at London's V4 Visions label – a small but important label on the underground scene in the early 90s – one who was close enough to the ground to pick up all the best styles that were taking place at the time! British soul had a bit step forward at the end of the 80s, and had even entered the American mainstream with a few key acts – but there was still plenty of experimentation taking place underground – new takes on American styles, interwoven with new jungle modes from London – and sometimes even with the grittier electro quality of street soul of the decade before! You'll hear all that and more here, served up in the usual well-done Numero style – normally reserved for older soul music labels, but very well suited here to V4 – on titles that include "What's This World Coming To" by Ashaye, "Just Dreaming" by Julie Stapleton, "The Way I Love You" by Rohan Delano, "I'm Believing In Love Again" by Maureen Mason, "Get Off That" by The Wades, "All The Way (guitar mix)" by Julie Stapleton with Ashaye, "Endangered Species" by Endangered Species, "Joy In The Jungle" by Jungle Biznizz, "Inflight" by Rohan Delano, "Fantasy (insight mix)" by Insight with Ashaye, "Just A Memory" by Endangered Species, and "If This Is A Dream" by Maureen Mason. LP, Vinyl record album

An unlikely, but amazing meeting of the avant jazz minds – a classic set that has LA trumpeter Bobby Bradford coming into play with the UK Spontaneous Music Ensemble, led by drummer John Stevens! The material was recorded, almost spontaneously, on a holiday trip Bradford made to London in 1971 – but the record's become an enduring classic, thanks to the creative energy of the players involved, and the dynamic quality of the improvisations in the studio! Bradford's trumpet sounds quite different here than in his better-known work of the time with reedman John Carter – much more outside and forceful, really set loose in the company of Stevens' group – which, in this incarnation, includes Trevor Watts on alto and soprano sax, Bob Norden on trombone, Ron Herman on bass, and Julie Tippetts on guitar and a bit of voice. Titles include "His Majesty Louis", "Bridget's Mother", and "Room 408". LP, Vinyl record album

An unlikely, but amazing meeting of the avant jazz minds – a classic set that has LA trumpeter Bobby Bradford coming into play with the UK Spontaneous Music Ensemble, led by drummer John Stevens! The material was recorded, almost spontaneously, on a holiday trip Bradford made to London in 1971 – but the record's become an enduring classic, thanks to the creative energy of the players involved, and the dynamic quality of the improvisations in the studio! Bradford's trumpet sounds quite different here than in his better-known work of the time with reedman John Carter – much more outside and forceful, really set loose in the company of Stevens' group – which, in this incarnation, includes Trevor Watts on alto and soprano sax, Bob Norden on trombone, Ron Herman on bass, and Julie Tippetts on guitar and a bit of voice. This well-done 2CD package brings together all the material from the original sessions – 8 long titles that include "His Majesty Louis", "Bridget's Mother", "Norway", "Rhythm Piece", "Fragment", "Trane Ride/Ornette-ment/Doo Dee", and "Room 408". CD

Spare vocals and light guitar – an approach that's quite similar to the late 50s Liberty work of Julie London – and which features vocalist Claudia Thompson singing to great accompaniment from guitarist Barney Kessel! The style here is moody and mellow – not nearly as romantic as you might guess from the cover, and with some great dark undercurrents that really help keep the album interesting throughout. As proved by his Liberty work with London, Barney's a great talent for such a date – and plays here in small groups that feature Ted Nash on flute or alto, Benny Carter on alto, Paul Smith or Arnold Ross on piano, and Red Mitchell on bass. A few tunes feature some light added horns, but a few more feature only guitar and bass – making for an especially spare and intimate sound. Titles include "I'm Through With Love", "The Morning After", "Goodbye", "You Call It Madness", "Fan Me", "I Was Yours", and "Gloomy Sunday". CD features bonus tracks – "Gloomy Sunday (7" version)" and "Goodnight My Pet". CD

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