Greg Ward's group here is named 10 Tongues – a great label for an ensemble that's overflowing with individual voices on their instruments – less a big band than a combo that can bring together so many different tones and colors at once! Ward himself is wonderful on alto, but maybe even more impressive as both the leader and composer here – writing in this fresh voice that's extremely positive and uplifting, but without ever resorting to any cloying cliches – and the group seems to respond by playing his music with a sense of joy and discovery at each new twist and turn! Players include Keefe Jackson on baritone and tenor, Tim Haldeman on tenor, Ben LaMar Gay on cornet, Russ Johnson on trumpet, Norman Palm on trombone, Christopher Davis on bass trombone, Jason Roebke on bass, Marcus Evans on drums, and Dennis Luxion on piano – on titles that include "Singular Serenade", "Daybreak", "Grit", "With All Your Sorry Sing A Song Of Jubilation", "Dialogue Of The Black Saint", and "Gather Round The Revolution Is At Hand". CD

A double-sized set of live Bill Evans material from the early 70s – a great amount of material that showcases a time when Evans had an especially fluid, open touch on the keys of the piano! The group here features the great trio with Eddie Gomez on bass and Marty Morell on drums – and unlike some other live Evans albums of this nature, which tend to mike the piano more than the rhythm, this one really has all three points of the trio coming out strongly together – especially Gomez' wonderfully rich, round tones on the bass. Titles include "Two Lonely People", "What Are You Doing The Rest Of Your Life", "Re Person I Knew", "Elsa", "Emily", "Turn Out The Stars", and "Quiet Now". LP, Vinyl record album

A trio of albums from pianist Hal Galper – one early, two later, and served up in a single set! Guerilla Band is electric piano genius from Hal Galper – one of his best non-acoustic albums ever, and a set that's filled with moody colors and changes! The album's a fair bit more dynamic than some of Galper's other albums from the 70s – with horns from the Brecker Brothers, guitar from Bob Mann, and tightly rhythmic work on the bottom that makes some of the best numbers hear all-out funky jams! There's a sharply angular feel to the record that's made it a favorite for beatheads for years – plenty of tunes that are ripe for samples, even when things get slightly mellow – and Galper's approach to the keys is really amazing, unlike any other player we can think of at the time! Titles include "Figure Eight", "Call", "Black Night", "Point of View", "Welcome To My Dream", and "Rise & Fall". Rebop is a gem of a later album from pianist Hal Galper – one that has him teaming up with tenorist Jerry Bergonzi, as both players really find a way to make the other sound great! Galper's always got a nicely spacious approach to the piano – using the spots between the notes in just the right way, which is great for Jerry, as he likes to fill them with well-placed, well-timed tenor elements that really make his horn sound great. The balance is a bit like that which Bergonzi brings up on some of his best sessions for Red Records – and the group also features Jeff Johnson on bass, and Steve Ellington on drums. Titles include "All The Things You Aren't", "Jackie-Ing", "Take The Coltrane", "Laura", and "It's Magic". On Just Us, the trio of pianist Hal Galper gets some great guest work here from tenorist Jerry Bergonzi – a rich-toned player who really seems to bring out a different vibe in Hal's music! Galper's touch on the keys seems to be extra-dexterous here – really spinning out these long, lively lines that are balance with the well-placed tones of Bergonzi – given gently swinging support from Pat O'Leary on bass and Steve Ellington on drums! Many of the tunes are standards, but opened up with all these great colors – and titles include "Just Us", "Bye Bye Blackbird", "Stablemates", "Lover Man", "I'll Never Be The Same", and "Unforgettable". CD

A lost set of modernist piano jazz from the British scene of the late 60s – very much in the mode of the best American work of the time by pianists like Steve Kuhn or Don Friedman! Taylor's got an incredible touch on the keys – a post-Bill Evans mode that uses space as much a sound, and which paints in broad colors and tones that seem to glisten in their own unique place in the musical spectrum. The sound is free, but never too "out" – and the trio performs a number of strong originals like "Just A Blues", "Two Autumns", "Guru", and "Abena" – plus completely transformed versions of "Stella By Starlight" and "All The Things You Are". LP, Vinyl record album

Soaring soul from Stephanie Mills – one of the lady's all-time hits, and for good reason too! The album really gives Stephanie's great voice a lot of focus – an upbeat, uptempo groove that sets her firmly on the dancefloor, but always with a touch of class – and a lot more depth than some of the easy come/easy go disco divas of her day! Thanks here is clearly due to the team of Reggie Lucas and Mtume – who strike strongly with the album as one of their key early productions – the sort of work that really helped push mainstream soul a bit further at the end of the 70s, and set some new tones for a lot of growth in the next decade. The keyboards on the record are almost as nice as the vocals – played by Hubert Eaves and Harry Whitaker with a nice degree of sensitivity – hardly the stronger keyboard voice of the early 80s soul scene, and often with a dose of jazziness that's really appreciated. Titles include "What Cha Gonna Do With My Lovin'", "Deeper Inside Your Love", "Feel The Fire", "Put Your Body In It", "Starlight", and "Don't Stop Dancin". LP, Vinyl record album

2 later albums by Johnny Griffin – both recorded after his return to the US during the late 70s! Bush Dance is a pretty interesting little set – one that features Griffin working in an easygoing combo with slight electric touches – a group that features George Freeman on guitar, alongside Cedar Walton's acoustic piano, plus bass by Sam Jones, drums by Albert Heath, and percussion and congas from Kenneth Nash. The mixture of guitar and congas gives the album a very different feel than some of Griffin's other work – almost a lighter soul jazz touch that recalls some of the best Muse Records sides from the time. Tracks are long, and rhythms get nice and free at times – and titles include a 17 minute take on "Night In Tunisia" that really gets a bit wild, plus "Since I Fell For You", "Bush Dance", "Knucklebean", and "The JAMFs Are Coming". Call It Whatchawanna is a more straight-ahead album, and a great one too – recorded with a youthful and soulful rhythm combo that features Mulgrew Miller on piano, Curtis Lundy on bass, and Kenny Washington on drums – all supporting Griffin with warm round tones that work perfectly with his open solo style. Titles include "I Mean You", "Lover Man", "Call It Whachawanna", and "A Waltz With Sweetie". CD

Duke Pearson knocks it out of the park with this one – perfectly summing up all the new ideas in jazz arranging and large ensemble work he'd been exploring at Blue Note – and pushing things way way past his previous small group material as well! The album's quite different than most other 60s iterations of big band jazz – as Pearson's got a way of making all instruments come together on the rhythms, then exploding with subtle colors and soulful tones – yet all at a level that's never forced or gimmicky at all. It helps that he's got a tremendous lineup of players here – both Lew Tabackin and Frank Foster on tenor (the latter of whom does some arranging for the record) – plus Pepper Adams on baritone, Marvin Stamm and Randy Brecker on trumpets, Garnett Brown and Jimmy Cleveland on trombones, Jerry Dodgion and Al Gibbons on alto, and the rhythm team of Bob Cranshaw on bass and Mickey Roker on drums. Duke plays superb piano with a really sophisticated touch, but it's really his strength as an arranger that makes the whole thing come together beautifully. Andy Bey sings on a version of "I'm Tired Cryin Over You" – and other titles include "Amanda", "Tones For Joan's Bones", "Dad Digs Mom", "Disapproachment", and "Make It Good". CD

Guitarist Masayuki "Jojo" Takayanagi takes things back to basics with his Second Concept here – playing in a style that's straighter and more swinging than some of his avant work of the 70s – yet at a level that's equally compelling too! Given that he went outside a heck of a lot on previous records, Takayanagi definitely has a touch here that's informed by the farther reaches of the electric guitar in jazz – yet he applies his inventive tones and phrasings to a more conventional setting with help from Kenji Kohsei on piano, Nobuyoshi Ino on bass, and Yasuhiro Yamazaki on drums – in a mode that almost recalls some of the more inventive mix of tones and rhythms from the Lee Konitz generation of the 50s, yet served up in a more contemporary mode overall. No surprise, the set features versions of Konitz-school classics like "Palo Alto", "Lennie's Pennies", and "317 East 32nd" – plus original material that includes "Froggy Day", "These Things", and "My New Flame". CD features four bonus alternate takes too! CD

Bold, beautiful work from the team of Ken Vandermark and Mats Gustafsson – two of the most inventive reed players of the past few decades – working together here in free, unfettered formation! The set was actually recorded right above Dusty Groove – in a very open, woody loft space – which really helps shape the sound of the set – as the notes from both players ring out wonderfully in the loft – almost recalling the creative improvisations of the New York scene from decades before – but handled here with all the amazing new sense of invention that both Vandermark and Gustafsson seem to bring to any instrument they touch! Ken plays tenor, bass clarinet, and b flat clarinet – and Mats handles alto, tenor, and baritone – all in a rich range of sounds and tones that really leave us breathless. Titles include "Ripolin", "The Madness Of Branches", "I Never Dreamed", "Fortunate Rust", "We Turn The Page", and "Beside Me Images". CD

A really great set of rare Detroit numbers – all pulled from the catalog of the LuPine label, a company who cut some great little records in the shadow of Motown! The work on the set includes a lot of early 60s numbers – including a few tracks by The Primettes, an early incarnation of Diana Ross & The Supremes! 18 tracks in all, with titles that include "He's My Guy" and "I Love You So" by The Kittens, "Tears Of Sorrow" and "Pretty Baby" by The Primettes, "Baby Sitting" and "He's So Fine" by The Corvells, "Touch Of Love" by Clara Hardy, "Dutchess Conquers Duke" by The Conquerors, "I'll Be Back" by The LA Dolls, "It's Been A Long Time" by Ruby & Her Swinging Rocks, and "My Heart Went Zing" by Taylor Tones. CD

Beautiful solo piano work from Marek Latarnik Pedziwiatr – a player you might know for his crucial contributions to the groups EABS and Jaubi – sounding very different and a lot more personal here on his own! Latarnik's touch on the piano is often very rhythmic and lyrical at the same time – less of the freer flights of Keith Jarrett improvisations, or the spacious tones of Bugge Wesseltoft in such a mode – and instead working in a way that uses the instrument to create these really wonderful cycles of sound – sometimes with a gentle pulse, sometimes with a much fuller flow! Titles include "Panna", "Glod", "Wspomienie", "Berlin", "Strach 1945", "Marta", and "Maradki". CD

Duke Pearson knocks it out of the park with this one – perfectly summing up all the new ideas in jazz arranging and large ensemble work he'd been exploring at Blue Note – and pushing things way way past his previous small group material as well! The album's quite different than most other 60s iterations of big band jazz – as Pearson's got a way of making all instruments come together on the rhythms, then exploding with subtle colors and soulful tones – yet all at a level that's never forced or gimmicky at all. It helps that he's got a tremendous lineup of players here – both Lew Tabackin and Frank Foster on tenor (the latter of whom does some arranging for the record) – plus Pepper Adams on baritone, Marvin Stamm and Randy Brecker on trumpets, Garnett Brown and Jimmy Cleveland on trombones, Jerry Dodgion and Al Gibbons on alto, and the rhythm team of Bob Cranshaw on bass and Mickey Roker on drums. Duke plays superb piano with a really sophisticated touch, but it's really his strength as an arranger that makes the whole thing come together beautifully. Andy Bey sings on a version of "I'm Tired Cryin Over You" – and other titles include "Amanda", "Tones For Joan's Bones", "Dad Digs Mom", "Disapproachment", and "Make It Good". LP, Vinyl record album

Bruce Barth is a pianist who always knows how to open up and run – making him an excellent choice for the Smalls Live series – easily some of the best-recorded live jazz CDs in recent years! Barth's touch on the keys is amazing – very fluid, and a mixture of sharp tones and gentler elements – always incredibly well-conceived, and really holding up in the space of the album's extended tunes – which also are almost all original compositions as well! The trio features Vincente Archer on bass and Rudy Royston on drums – and titles include "Yama", "Almost Blues", "Oh Yes I Will", "Afternoon In Lledia", and "Wilsonian Alto". CD

The sound here is definitely timeless, thanks to some always-strong work on piano from Don Friedman – one of those players who first shone brightly in the early 60s, then dropped off the radar for many years – but has reemerged lately with a new level of brilliance in his work! Friedman's touch on the piano is confident and compelling – still prone to some of the nicely bright and round tones of earlier years, but also imbued with a stronger sense of presence that well suits the rhythm team of John Patitucci on bass and Omar Hakim on drums. Titles include "Star Eyes", "Alone Together", "Emily", "Turn Out The Stars", "What Is This Thing Called Love", and "Body & Soul". CD

Bold, beautiful work from the team of Ken Vandermark and Mats Gustafsson – two of the most inventive reed players of the past few decades – working together here in free, unfettered formation! The set was actually recorded right above Dusty Groove – in a very open, woody loft space – which really helps shape the sound of the set – as the notes from both players ring out wonderfully in the loft – almost recalling the creative improvisations of the New York scene from decades before – but handled here with all the amazing new sense of invention that both Vandermark and Gustafsson seem to bring to any instrument they touch! Ken plays tenor, bass clarinet, and b flat clarinet – and Mats handles alto, tenor, and baritone – all in a rich range of sounds and tones that really leave us breathless. Titles include "Ripolin", "The Madness Of Branches", "I Never Dreamed", "Fortunate Rust", "We Turn The Page", and "Beside Me Images". CD

Jessie Belvin's often talked about in reverent tones as a bridge between a number of different styles of 50's R&B and vocal soul, but it's not until you hear a great compilation like this one that you realize how fantastic his stuff really is. This excellent Ace set compiles tracks from his great early years at Modern, and even includes some stuff that he did with the vocal group The Cliques. The sound is deep warm LA R&B, with a touch of Charles Brown and Clyde McPhatter, but also a startling premonition of later soul artists like Jerry Butler. Beautiful stuff, with a wide range of tracks, including some unreleased material that's as good as the hits on here. CD

A masterpiece by Warne Marsh – and proof that there was always a committed modernist lurking behind some of his more straightforward playing! The session has sort of a post-Tristano underground west coast feel (if we can make up such a heavy handed term!), and it features a piano-less quartet with Marsh on tenor, Gary Foster on alto, Dave Parlato on bass, and Terry Tirabasso on drums. Foster's playing at this point in his career is wonderful, with lots of crispy icy tones that remind us of the best Konitz recordings of the mid 50s. Tracks are long and introspective, and titles include Tristano's "Lennies Pennies" and "317 E 32nd", Konitz's "Subconscious-Lee", and the original improvisation "Touch & Go". LP, Vinyl record album

A pretty great set from Les McCann – and quite a bit different than some of his other work of the time! This one's sub-billed as "the ballad style of Les McCann" – but it features Les playing these laidback, mellow numbers that are way different than most jazz ballads of the time – almost darkly modern moments that draw a lot from rich tones and gentle chromes – of the sort we've hardly ever heard McCann play this way, and which almost hint at some of the gentler touch he'd use on the keys during the Fender Rhodes generation – even though this one's recorded a decade before. Backing is equally thoughtful and sensitive – with Herbie Lewis on bass and Ron Jefferson on drums – and titles include two originals – "Pretty Lady" and "Dorene Don't Cry I" – plus "Django", "Stella By Starlight", "On Green Dolphin Street", "Ill Take Romance", and "Little Girl Blue". CD

Plenty of darkness here from Phil Upchurch – those great tones and notes he worked so well back in the 70s – all with that near-perfect quality that made him one of the most in-demand players of his day! The style here is a bit different than some of Phil's previous work in Chicago – as the set was recorded on the west coast with support from players who include Joe Sample on piano, Arthur Adams on rhythm guitar, Chuck Rainey on bass, and Harvey Mason on drums. But that shift of locale hasn't dampened Phil's sound at all – and he's still getting a bit of hometown help from Donny Hathaway, who arranged a few tracks and also plays a bit of electric piano on the record. Other arrangements are by Nick DeCaro, and titles include "Love & Peace", "Darkness, Darkness", "Cold Sweat", "Fire And Rain", "Please Send Me Someone To Love" and "Inner City Blues". LP, Vinyl record album

Two great albums from Lucky Thompson! First up is Plays Jerome Kern – wonderful work from that early 60s moment when Lucky Thompson was really opening up with a newly soulful sound – and mixing in some great soprano sax work with his tenor! The tunes are familiar, but the execution is wonderful – Lucky blowing easily in a quartet with Hank Jones on piano, Wendell Marshall on bass, and Dave Bailey on drums – the last of whom really keeps things moving, even when mellow. Titles include " Long Ago And Far Away", "Lovely To Look At", "No More", "Look For The Silver Lining", "Who", "Dearly Beloved", "Why Do I Love You", "Why Was I Born", and "They Didn't Believe Me". Happy Days is an overlooked gem from Lucky Thompson's mid 60s years – that wonderful time when he'd returned to the fold even stronger than ever – filled with hip new musical ideas, and a great command for the soprano sax! This set's got Lucky working on both soprano and tenor, both of which are handled with these angular, soulful tones that are totally great – right at home in a group that features Tommy Flanagan on piano, George Tucker on bass, and Walter Perkins on drums – all marvelously sensitive rhythm accompanists. Jack Melady adds harp on 2 tracks on the set – a very nice touch – and titles include "Safari", "Cry Me A River", "People", "You Don't Know What Love Is", and "As Time Goes By". CD

Writer John Corbett has given us words on a huge variety of musical styles over the years – a fair bit of them left field and avant – but this time around, he's tackling the full range of 70s rock, pop, and soul music – in a huge book that's unlike anything he's ever written before! First off, the large volume is very personal – part listening autobiography, part paean to the musical giants who shaped the decade, and part hindsight record review of all the amazing sounds that were created during the 70s! The book follows the decade with year-by-year chapters – yet it's hardly a history at all – as Corbett picks key songs and albums as touchstones for each year – partly because of their impact, but more because of the power they had for him as a listener. The albums run the gamut – from Nursery Cryme by Genesis, to Les Stances A Sophie by The Art Ensemble Of Chicago, to Pink Moon by Nick Drake – and songs include "Sex Machine" by James Brown, "School's Out" by Alice Cooper, and "Long Time" by Boston. 496 pages, hardcover. Book

Not a live album, as you might guess from the title – but instead a wickedly sharp mid 70s set from one of the most soulful voices in reggae – a record that has Gregory Isaacs getting superb support from The Soul Syndicate, and production from the great Alvin Ranglin too! The vibe is great – laidback and soulful, with songs that mostly have love in the themes, but which come across with some righteous currents too – that special way of bridging the gap that continued to make Isaacs such a powerful singer over the years! Titles include "Sweeter The Victory", "Love Overdue", "Financial Endorsement", "Be Careful", "Another Heart Ache", "If You're In Love", "Dreams Come True", "The Way She Walks", "Far Beyond The Valley", "Happiness Come", "No Forgiveness", and "Love Disguise". This killer Doctor Bird 2CD version of the album adds 31 bonus tracks, 18 of which are on CD for the first time ever – other Alvin Ranglin productions from the same time, including more work by Gregory Isaacs, and cuts from The GG All Stars, Shorty Perry, The Heptones, Untouchables, Maytones, and others! CD

A surprisingly nice score from Riddle – and pretty different than most late 50s crime jazz LPs! There's a number of tracks on here that have a period setting, in keeping with the locale of the TV show – but there's others that are really wonderful orchestral numbers, shaded with the darker tones of jazz, almost in a Kentonian mode, with a range of expression that's almost surprising from Riddle. Titles include "Suspensful-Ness", "30 30", "The Untouchables Theme", "Ebony & Ivory", "The Loop", and "Eliot Ness". LP, Vinyl record album

Mindblowing work from one of the greatest new groups we've heard in years – Michigan's mighty Nomo, easily one of the greatest Afro Funk combos going! Nomo's got a tightness that surpasses most other heirs to Fela's throne – an intensely focused energy that's really tremendous – and which soars out with some jazzy touches on the horns that move the group into deeply soulful territory! There's way more going on here than just guitar riffing, percussion, and blasting horns – as Nomo's musical vision is really expansive, and often echoes with cosmic touches you never would have heard back in 70s Ethiopia! Electric instruments are used subtly, but really effectively – so that keyboards are matched with weird guitar parts and some especially great electrified gamelan and kalimba lines, the last of which are almost worth the price of the record alone. The whole thing's great – classic in its roots, but creative enough to have a boldly strong voice of its own – and our hats are off to Nomo for blowing us away even more here than with their already-great debut! Titles include "We Do We Go", "Nutones", "Hand & Mouth", "Fourth Ward", "Reasons", "New Song", "Divisions", "Sarvodaya", and "Book Of Right On". CD

A killer set of tracks by one of the best piano players that Blue Note ever recorded – and a great trio outing that sparkles with soulful intensity! Even in this more traditional format, Horace Parlan's still one of the most inventive players of his generation – working with a sense of bottom groove that makes even familiar tunes move nicely, and hitting an approach to his solo work that trades flowery touches for earthier tones that often dance around each other with a focused sound that's really unique! Dark and blue tones echo out wonderfully throughout the set, and Horace's piano is backed by the extremely thoughtful bass work of Sam Jones and drums of Al Harewood – on tunes that include "Up In Cynthia's Room", "C Jam Blues", "Bag's Groove", "On Green Dolphin Street", and "Lady Bird". CD

One of the boldest albums ever from this legendary spiritual jazz ensemble – and a set that has them reaching even further heights in their music! There's a bit more focus here than before – tunes that are somewhat shorter, and really hone in on the best elements in the group's sound – the amazing reed lines of Idris Ackamoor, and the building percussion in the grooves – often touched with odd sounds and unusual elements that give the record a similar feel to some of the more percussive Sun Ra albums on Saturn. There's a bit of vocals at points, but really just used to augment the instrumentation – and the album's got the sharply righteous tones you might expect to hear in some of the hippest Strata East work of the period! Titles include "Aomawa", "Black Man & Woman Of The Nile", "Jamaican Carnival", "Birth Speed Merging", and "Reaffirmation". LP, Vinyl record album

The one and only album that Sun Ra ever cut for the Savoy label – a beautifully understated session that mixes more conventional jazz with some particularly Ra-like touches! The group on the set is extremely tight – especially the horn work of John Gilmore, Marshall Allen, and Pat Patrick – who glide together along with some of the best mainstream modernists of the 50s, but break out with earthier tones and phrases that clearly mark their playing as different from the norm. Ra plays relatively straight piano for the album, but there's more than enough Arkestra touches from other players on bells and assorted percussion – emphasizing the rhythmic qualities of the tunes, and really living up to the promise of titles that include "Bassism", "China Gates", "Of Sounds And Something Else", "Tapestry From An Asteroid", "Jet Flight", "Space Jazz Reverie", and "Where Is Tomorrow?". CD

The one and only album that Sun Ra ever cut for the Savoy label – a beautifully understated session that mixes more conventional jazz with some particularly Ra-like touches! The group on the set is extremely tight – especially the horn work of John Gilmore, Marshall Allen, and Pat Patrick – who glide together along with some of the best mainstream modernists of the 50s, but break out with earthier tones and phrases that clearly mark their playing as different from the norm. Ra plays relatively straight piano for the album, but there's more than enough Arkestra touches from other players on bells and assorted percussion – emphasizing the rhythmic qualities of the tunes, and really living up to the promise of titles that include "Bassism", "China Gates", "Of Sounds And Something Else", "Tapestry From An Asteroid", "Jet Flight", "Space Jazz Reverie", and "Where Is Tomorrow?". CD

The one and only album that Sun Ra ever cut for the Savoy label – a beautifully understated session that mixes more conventional jazz with some particularly Ra-like touches! The group on the set is extremely tight – especially the horn work of John Gilmore, Marshall Allen, and Pat Patrick – who glide together along with some of the best mainstream modernists of the 50s, but break out with earthier tones and phrases that clearly mark their playing as different from the norm. Ra plays relatively straight piano for the album, but there's more than enough Arkestra touches from other players on bells and assorted percussion – emphasizing the rhythmic qualities of the tunes, and really living up to the promise of titles that include "Bassism", "China Gates", "Of Sounds And Something Else", "Tapestry From An Asteroid", "Jet Flight", "Space Jazz Reverie", and "Where Is Tomorrow?". CD

The one and only album that Sun Ra ever cut for the Savoy label – a beautifully understated session that mixes more conventional jazz with some particularly Ra-like touches! The group on the set is extremely tight – especially the horn work of John Gilmore, Marshall Allen, and Pat Patrick – who glide together along with some of the best mainstream modernists of the 50s, but break out with earthier tones and phrases that clearly mark their playing as different from the norm. Ra plays relatively straight piano for the album, but there's more than enough Arkestra touches from other players on bells and assorted percussion – emphasizing the rhythmic qualities of the tunes, and really living up to the promise of titles that include "Bassism", "China Gates", "Of Sounds And Something Else", "Tapestry From An Asteroid", "Jet Flight", "Space Jazz Reverie", and "Where Is Tomorrow?". LP, Vinyl record album

The news is pretty darn jazzy here – thanks to a quick-stepping bassline, cool marimba, and snapping snare – all of which give "News" a very groovy jazz soundtrack feel – like something lifted off an obscure soundtrack from the early 60s! But halfway through, some cool electronics also come into the mix – moogy flutters that change things up and really space the tune out nicely! "Top Secret" is a wonderful blend of guitar with a hip acosutic bassline – really crafted with a lot of personal touches – hypnotic and seductive, with some nice jazzy overtones! 7-inch, Vinyl record

A huge document of work from LA's Consolidated Productions – a company you might not know by name, but one who issued work on a number of tiny indie labels – including City Lights, Simco, Space, Velvet, Angel Town, and many other labels! The set is heavy on 60s soul in a variety of styles – and features group harmonies, deep soul singers, and even some instrumental work too – all with qualities that are very much in the best modes that the Chicago scene was recording at the time – sophisticated, but gritty too – and with a vibe that's way past the 60s soul hits you'll find on mainstream compilations! You'll recognize a few names here – including Gene Russell, later of Black Jazz fame – and there's a fair bit of obscure artists too – in a set list of 28 tracks that include "Misery" by The DeVelles, "Cool It Baby" by BB Carter, "I'm Mad" by Spider Walker, "Money Man" by LA Untouchables, "I Got To See My Baby" by Lee Jones, "Jet Set" and "Doin The Snake Hips" by Gene Russell's Trio, "Don't You Fool Me" by Ann Stacy, "My Lover" by Marilyn Calloway & The 4 Silvertones, "Lighten Up Baby" by Ty Karim, "Turkey Trot" by Dynamic Duo & The Penguiness, "False Pride" and "Prove It" by Lee Harvey, and "So Called Friend" by Billy Williams. LP, Vinyl record album

A really wonderful entry in this excellent series – one that initially helped identify a really special strand in postwar music – then continue to provide rare and unique examples with new volumes like this! The music isn't really mambo or Latin at all – but the rhythms here are more sophisticated and modern than more blues-oriented work of the time – and pulled from a fantastic moment when things were really mixing up in the new indie recording scene of the postwar years! Bits of jazz, early soul, and other touches make these tunes really shine – all lively numbers that include both group material and solo singers too – in a killer set list that includes "Wanda" by The Heartbreakers, "You're So Good Looking" by Otis Smith, "Heartaches & Troubles" by Mr Bo, "Song Of Sadar" by Lawrence Peel & The Filatones, "Buddha's Boogie" by Dukes Of Rhythm, "Calvalry" by Marie Knight & Sister Rosetta Tharpe, "Evil One" by The Dundees, "Love For Sale" by Helene Polite, "Oscalypso" by Oscar Pettiford, "Mambo Blues" by Effie Smith, "Big Mary's" by Titus Turner, "Caldonia" by Monchito, "Ali Baba's Boogie" by Preston Love, "Canveral Rock" by The Blasts, "I Want You To Be My Baby Mambo" by The Royals, "Girl Of My Dream" by Frank Butler, and "My Beat Is 125th Street" by Eunice Davis. LP, Vinyl record album

Aahh, sweet lover's rock, and all from Studio One no less! Whether you're looking to set the mood for a late night rub up, or just want to cool out to some mellow island vibes, this batch of easy rockin' lover's numbers cut under the supervision of Coxsone Dodd is just the ticket. You get sweet soulful numbers from Studio One stalwarts, plus a number of nice tracks by some lesser known stars in the Studio One galaxy, and as you'd expect from a Soul Jazz set, it's wrapped up quite nicely. 18 tracks in all, including "I Don't Know Why" by Delroy Wilson, "Touch Me Baby" by Myrna Hague, "Darling I Need Your Loving" by John Holt & The Paragons, "Ten To One" by The Mad Lads, "Reggae Magic" by Jackie Mittoo, "Too Long Will Be Too Late" by Freddy & Jenny, "Let Him Try" by Alton Ellis, "Don't Wait For Me" by Albert Tomlinson, "Got To Be Sure" by Horace Andy, "Ready To Learn" by the Heptones, 'We're All Alone" by Doreen Schaefer and more! LP, Vinyl record album

A stone classic from Brother James – a wonderful 60s album that not only includes the incredible title track – one of James' best groovers from the time – but a set that also showcases his talents in so many other styles too! There's a few wonderful ballads – but completely recast by James into songs of pride and power – and some older R&B-styled numbers that hearken back to his earliest years at King – all of which makes for a really rich demonstration of that unique James Brown energy that nobody else in the 60s could ever hope to touch! The Godfather's vocals burst out nicely with some wonderfully soulful overtones, no matter what the tune – and titles include "Fever", "Good Rockin Tonight", "Back Stabbin", "Mona Lisa", "Come Rain Or Come Shine", "Nature Boy" and "I Want To Be Around" – as well as "Cold Sweat (parts 1 & 2)". LP, Vinyl record album

Subtle brilliance from Japanese pianist Masaru Imada – a record that bubbles beautifully with some spare and personal touches – sometimes slightly free, sometimes wonderfully melodic – always with a strong sense of vision and energy! The group here features Imada on acoustic piano, alongside bass, drums, and some especially great tenor and soprano sax from Ichiro Mimori – often played with some slightly sharp edges, but also a surprising degree of soul – a heartfelt, personal quality that slides alongside Imada's piano in a soaring dance of colors and tones. Titles are all originals, and include "Nostalgia", "Alter", "Gehi Dorian", and "The Shadow Of The Castle". CD

A killer set of tracks by one of the best piano players that Blue Note ever recorded – and a great trio outing that sparkles with soulful intensity! Even in this more traditional format, Horace Parlan's still one of the most inventive players of his generation – working with a sense of bottom groove that makes even familiar tunes move nicely, and hitting an approach to his solo work that trades flowery touches for earthier tones that often dance around each other with a focused sound that's really unique! Dark and blue tones echo out wonderfully throughout the set, and Horace's piano is backed by the extremely thoughtful bass work of Sam Jones and drums of Al Harewood – on tunes that include "Up In Cynthia's Room", "C Jam Blues", "Bag's Groove", "On Green Dolphin Street", and "Lady Bird". CD

A really unusual 70s recording from Art Pepper – quite different than most of his better-known work from the time! The group alone is enough to indicate the unusual quality of the set – as it's larger than usual, with a great lineup that includes Harold Land and Buddy Collette on tenor, Blue Mitchell on trumpet, and Butch Lacy on electric piano – all coming together with a magically free-flowing and soulful sound. The presence of the electric piano touches the set with a nice degree of electricity – but the real energy comes from the fantastic horn interplay, stretching out nicely over the album's 3 long tracks. Titles include "Blue's Blue", "Milestones", and "Over The Rainbow". CD

A great look at the changing tone on the American scene at the end of the 60s – that moment when Vietnam, social unrest, and many other problems weighed heavily on the country's consciousness – and made their presence manifest in all sorts of pop music as well! We're not talking about the familiar sounds of the Woodstock generation – but instead more mainstream artists who had never touched on politics or social issues before – but suddenly found themselves singing alongside the underground about the bigger problems of the day. This package is a superb look at that moment – put together by the team who've given us the great English Weather and Paris In The Spring collections for Ace – with the same care for choice of tracks, and a wealth of wonderful notes that really get at the nature of these unusual tunes. Titles include "Clean Up Your Own Back Yard" by Elvis Presley, "Wine In The Wind" by Anita Kerr Singers, "Paint Me Black Angels" by Eartha Kitt, "This Crazy World" by Paul Anka, "Questions" by Bobby Darin, "Do You Believe This Town" by Dean Martin, "Cardboard California" by Buddy Greco, "Cherrystones" by Eugene McDaniels, "Save The Children" by Teresa Brewer, "Welfare Hero" by Johnny Tillotson, "What Do We Do With The World" by Bing Crosby, "4th Of July" by The Beach Boys, "Mr Businessman" by Ray Stevens, "Paint America Love" by Lou Christie, "Hitchhiker" by The Four Preps, "Brand New Day" by Della Reese, "Saturday's Father" by The 4 Seasons, and "Southbound Jericho Parkway" by Roy Orbison. CD

Rare Caribbean funk from the 70s – the second volume of West Indies Funk – once again delivering a stylistically diverse take on the classic funky soul from groups such as The Troubadours, Boo & The Tru Tones, Roosevelt Johnson & His Spice Islanders, The Cassanovas, Blue Rhythm Combo and others! All the things we dug about the first volume are in the mix once again – and ultimately the set goes even further with the range and boundlessly funky styles. Includes numbers that could just as easily come from the funky underground of the regional US and others that roll out grooves that are purely indicative of the Caribbean – with steel drums, tropical rhythms and all around breezier, sunnier touches. Even better than the first one! Includes "Funk Good Feeling" by The Troubaodours, "Have A Party" by The Esquires Now", "Don't Blame This Joint" by Boo & The True Tones", "Shango!" by Steel Image, "Something's Definitely Going On" by Mamwaw, "Look-Ka-Py Py" by L Charmers, "Funky Crookie" by Exile 1, "Sing A Simple Song" by The Cassanovas, "The Big Pay Back" by Kenny & The Beach Boys and more. LP, Vinyl record album