An amazing 70s album from the legendary Maria Bethania – one of those records that's without precedent, and which comes together in an array of styles that's simply breathtaking! The sound here is a bit more focused and mature than some of Maria's earlier records, but the overall work is no less imaginative – and there's still an amazing criss-crossing of modes going on here – rootsy moments, smoother ones, and a blend of the simple and the complex strung together in ways that never fail to surprise us. Arrangements are by Perinho Albuquerque, who co-produced the record with Caetano Veloso – and Veloso and Gilberto Gil also helped out a bit on vocals and guitar. Titles include "Pecado", "As Ayabas", "Festa", "Amor, Amor", "Mae Maria", and "Passaro Proibido", a beautiful duet with Caetano! CD

A sweet Italian take on the music of Burt Bacharach – one that changes the lyrics of all the tunes from their original English versions, but serves them up with the sort of setting that might have made the maestro proud! The Vince Tempera Orchestra handles the backings – and they've definitely got the right sort of ear for the 60s – as most of the instrumentation here could easily have come from a vintage album, and the production preserves most of that quality as well – leaving Marizia Bi to soar out over the top on Italian versions of "Close To You", "Walk On By", "Keep Away From Other Girls", "The Look Of Love", "This Guy's In Love With You", "Anyone Who Had A Heart", and "Always Something There To Remind Me". CD

A rare French session by bossa guitarist Luiz Bonfa – recorded in Paris at the height of his best early years! The album's got a feel that's really great – dreamy guitar over lightly dancing arrangements, in a mode that's slightly different than the usual Rio style of recording at the time. There's almost a watery feel to the music here, with a nice bit of echo in the background behind Bonfa's guitar – but a compressed approach upfront that has his magical work on the strings at center stage, supported by some occasional vocals from time to time, and a nice bit of flute as well. The CD also features 4 tracks from the EP En Direct Du Brasil – also recorded in Paris – and titles include "Lila", "Bonfa Nova", "Cantiga Da Vida", "Amor Por Amor", "Santeleco", "Balaio", "Sorrindo", "Bossa Em Re", "Voce Chegou", "Sincopado Triste", and "Mania De Maria". CD

One of the earliest of the classic Verve bossa nova sessions of the 60s – and a wonderful showcase for the talents of guitarist Luiz Bonfa! Most of Bonfa's previous recordings were done in a very spare or solo mode – and this set makes a nice change by adding in some larger orchestrations – yet still handled with great bossa sensitivity by Oscar Castro Neves and Lalo Schifrin – themselves very big up-and-coming talents at the time! The sound is bright and breezy, as you'd expect from Verve at this time – and Bonfa's a lot livelier than usual, and even sings on a number of cuts – with a charming quality that's a bit like Joao Gilberto. Titles include "Bossa Nova Cha Cha", "Sambalamento", "Vem So", "Samba De Duas Notas", "Domingo A Noite", "Quebra Mar", and "Adeus". CD

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Blam is right – an all-out batch of funky tracks from The Brothers Johnson – captured here right in the middle of their classic period with Quincy Jones! The Q's at the helm on production for the set, and the record's a great extension of their earlier efforts with the man – but a bit more Johnson-tuned (if we can say that in mixed company) – with the bass upfront on some of the best numbers, and a surprisingly strong male ballad approach on some of the gentler tunes. There's a slightly jazzy undercurrent at times, and tracks include "Rocket Countdown/Blastoff", "Ride-O-Rocket", "Streetwave", "Blam", "So You Won't Stay", "Ain't We Funkin Now", and "Mista Cool". CD

A key slice of Clifford Brown from the 50s – two long tracks both recorded in an open-ended jam session format, showing a side of Brown's powers that's even bolder and more inventive than some of his previous studio work! The album soars along beautifully – with Brownie in the lead amongst an unusual, but well-chosen batch of players that includes Herb Geller and Joe Maini on alto saxes, Walter Benton on tenor, Kenny Drew on piano, Curtis Counce on bass, and Max Roach on drums – all grooving alongside Clifford on the album's nicely extended tracks. The album was released after Brown's death in 1956, features the side-long tracks "Caravan" and "Autumn In New York" – plus the bonus track "Caravan (The Boss Man)". CD

A great lost album from James Brown – and totally funky! The record's got a super-hip cover that shows James standing in a blue room with three fine foxy ladies, and the words "I Can't Stand Myself When You Touch Me" are emblazoned across the top – and the whole thing's as super funky as it looks! The record features many obscure King singles from the mid and late 60s, great little tunes that we always enjoy on funky 45s, and which are sewn together into one of the rawer James Brown LPs from the decade. James and the band are playing Vox instruments – as you can tell by the shameless ad on the back cover – and the record has a garagey funk sound that reminds us of the best Desco work by artists like Lee Fields & Joseph Henry. A prize in any funk collection – and with the cuts "The Soul Of JB", "I Can't Stand Myself When You Touch Me (parts 1 & 2)", "Get It Together (parts 1 & 2)", "Funky Soul #1", "Why Did You Take Your Love From Me", and "Baby Baby Baby Baby". Also features the funky hit "There Was A Time" – always a treat! CD

Funky funky funky! A nice one on King that shows the direction James Brown would take in the 70s – a bit harder and more funky than before, with even more of a focus on the instrumental talents of the ensemble! The band here is super-sharp – playing with that tightly focused, highly funky groove that James virtually invented at the time – ringing out with pride and boldness that are undeniable! The album mixes a few older obscure numbers with the best newer ones – and the set's a no-filler package that's filled with great cuts! Titles include "Stone Fox", "Maybe Good – Maybe Bad (parts 1 & 2)", "Here I Go", "I Got The Feelin", "You Got The Power", and "Just Plain Funk". CD

Quite possibly THE James Brown album of the mid 60s – a solid set of hard-grooving tracks, based around the monster title hit "I Got You (I Feel Good)"! The tune's one of those numbers that has been used a gajillion times over the years in commercials and promos – but which never sounds better than here, on James' original version – one of those cuts that never gets old! The hit's also nicely offset by a number of other more obscure numbers that make the album really worth tracking down – titles that include "I Can't Help It (I Just Do Do Do)", "Good Good Lovin", "I've Got Money", "Three Hearts In A Tangle", "You've Got The Power", and "Love Don't Love Nobody" – all on the rougher side of the JB spectrum. CD

A definite mother from James Brown – the kind of all-funky album that few of his contemporaries could ever hope to match! If you've ever doubted the sheer raw power of James at the end of the 60s, the first few notes of this one will definitely make you a convert – and the stretched-out grooves as the album rolls on will pull you even further into the fold. Most tracks roll on with that improvised studio jamming style that James was hitting at the time – a pre-JBs mode that's not as long as later years, but which still makes you feel that there probably was plenty more recorded on the dates that didn't make it into the two-part versions of the tracks! And although James is singing on most numbers, the real focus is more on the band – hitting hard, vamping sharp, and grooving massively under shouted calls and directions from Brown. Titles include two great instrumentals – "Popcorn With a Feeling" and "Top of the Stack" – plus "Little Groove Maker Me (parts 1 & 2)", "Mother Popcorn (parts 1 & 2)", "Mashed Potato Popcorn (parts 1 & 2)", "Any Day Now", "You're Still Out Of Sight", and "I'm Shook" – as well as the great mellower number "If I Ruled The World" – redone here as an African-American anthem of pride and power! CD

Further genius from James Brown at the start of the 70s – a record that's starting to show some of the more open-ended grooves he'd explore with the JBs on their own albums – longer, stretched-out tracks that are way more than simple funk and soul! There's a sense of freewheeling energy here that's totally great – dynamic, powerful calls from James at the top of most tunes – and incredibly sharp work on horns and rhythm from the band – cutting grooves and turning lines like no other combo in the business, all with a great mix of deep soul and hard funk! The album features the 7 minute killer version of "Let a Man Come In & Do The Popcorn", plus "World (parts 1 & 2)", "It's A New Day (parts 1 & 2)", "Give It Up or Turn It Loose", "If I Ruled The World", "The Man In The Glass (part 1)", and "I'm Not Demanding (part 1)". A treasure trove of funk and soul! CD

A landmark album that forever changed the face of live recordings – and soul music too! As has been told and retold often, King records not only had the genius idea of bringing recording equipment into the Apollo Theater to catch James in a smoking live setting – the sort of show that really set his fans on fire – but they also went out of their way to record and re-record the audience, creating a wonderful interplay on the record between James and the crowd. The result is the stuff of legend – and the record's filled with loads of nice tracks like "I'll Go Crazy", "Try Me", "I Don't Mind", "Lost Someone", "Think", "Night Train", and the massive medley featuring "Please Please Please/You've Got The Power/I Found Someone/Why Do You Do Me/I Want You So Bad/I Love You Yes I Do/Strange Things Happen". CD features four bonus tracks – the mono single mixes of "Think", "Lost Someone", "I'll Go Crazy", and a shorter version of the medley. CD

A lost treasure from James Brown & The JBs – a vintage live performance from the early 70s, and one that captures the group at the height of their powers! The format here is very similar to the excellent Revolution Of The Mind set – a totally funky, totally righteous live performance that has James and the group even more energized than in the studio – working with the kind of razor-sharp intensity that made them a legendary funk act – leaping from tune to tune with nary a break at all! Bobby Byrd acts as the MC, and joins James for a bit of vocals – and the group at this point still includes Bootsy Collins on bass, plus loads of great guitar from Catfish Collins, and Fred Wesley on trombone and Jabo Starks on drums. Dave Matthews handled some of the arrangements – and titles include "Soul Power", "Sex Machine", "Bewildered", "It's A New Day", "Ain't It Funky Now", "Brother Rapp", "Super Bad", "Give It Up Or Turnit A Loose", and "Papa's Got A Brand New Bag/I Got You/I Got The Feelin". CD

Here's where things really started getting interesting for James Brown! The album was issued right around the same time as James' single "Out Of Sight" on Smash – and like that track, "Papa's Got A Brand New Bag" was one of the first to use that "instruments on the beat" style of funk that would dominate all of James' work in years to come – that amazing groove that completely turned soul music on its ear – and paved the way for generations to come! The result is a startling sound that forever changed the face of groove – and you'll hear it nicely placed on this album, along with great cuts like "Cross Firing", "Mashed Potatoes USA", "Doin The Limbo", and "Love Don't Love Nobody". CD

An incredible early album from James Brown – featuring 16 raw R&B tracks culled from his early years at King – and virtually the blueprint for so many other great things to follow! "Please Please Please" was James' first big hit – and as you probably already know, it's got a sheer raw unbridled screaming sound that forever changed the face of soul music. The rest of the album's in a similar mode – and has plenty of great numbers that evoke a similar sound, including the obvious follow-up "No, No, No, No", plus "That's When I Lost My Heart", "Chonnie On Chon", "Hold My Baby's Hand", and "Tell Me What I Did Wrong". CD

A tremendous turning point in the career of James Brown – and an album that points the way strongly to the even deeper funk of the 70s! The album's a hard-wailing batch of instrumental tracks played by the legendary James Brown Band of the late 60s – the pre-JBs ensemble that's gone onto have possibly even more funky influence than the Godfather's combo in the 70s! James plays organ on the set – and supposedly a bit of guitar and drums (according to the notes) – but one of the main stars here is Pee Wee Ellis, whose alto lines really cook up some of the best tracks strongly. Yet possibly even more amazing is the overall rhythmic conception – tight, focused, and always on the money – snapping with a sharpness that's mindblowing even all these many years later – a whole new dimension in funky expression, hardly ever matched since! Titles include "Soul Pride (parts 1 & 2)", "The Chicken", "Sudsy", "The Popcorn", "In The Middle (parts 1 & 2)", "The Chase", and "A New Shift". CD

Raw live energy from the great James Brown – and a record that comes hot on the heels of Live At The Apollo! Like that one, this set was supposedly "recorded on the spot" – and it's even harder, faster, and noisier than that classic – with a loud-bursting sound that definitely lives up to the "dynamite" title, and which is far more unbridled than James on his King studio albums. The crowds seem to get equal time in front of the microphones as James – further enforcing the liveness of the record – and titles include "I'll Never Let You Go", "Good Good Lovin", "Shout & Shimmy", "Like A Baby", and "I'm Tired But I'm Clean". Album cover is great too – with a cool gatefold cover that's filled with photos of James, fans, and some lovely ladies! CD

Super Bad is right! This is hard-hitting funky James – from the badass cover right down to the extended tracks on the record, which point the way towards the hard live jamming of the classic Payback years! Everything wonderful is in place on the set – from the band's grooves at the bottom to James' on-fire vocals on the top – heard beautifully on the extended 10 minute version of the title cut "Super Bad" – which rolls through parts 1, 2, and 3 of the song! The album also includes another 10 minute funky cut – "Giving Out of Juice" – plus the classic "A Man Has to Go Back to the Crossroads", and three mellower ballads, but even they end up sounding kind of hip! CD

An excellent example of the massive groove that Ray Bryant set up during his 60s years at Cadet – a simple soul jazz trio style, but augmented with dual horn backing – which makes for a tightly stepping sound that's all-soulful, all the way! Bryant's left hand is nice and hard on the keys – pumping out a strong rhythm, even on the solos – and the record's got a clean and tight groove that really sparkles with a mix of earthiness and sophistication that's totally great. Titles include the very hip "Lonesome Traveler", plus "Cubano Chant", "Brother This N Sister That", "Gettin' Loose", and "The Blue Scimitar". CD

A stone groover from the great Ray Bryant – one of his brilliant albums for Cadet from the 60s! Ray's soul jazz trio (with Freddie Waits on drums) is augmented by the 2-horn trumpet section he used on some of his other Cadet recordings from the time – trumpet from Snookie Young and flugelhorn from Clark Terry, both of whom really help the album open up from the usual standard soul jazz trio side! The sound is really unique, and the "bottom" of the brass gives his piano a nice deep sound that you wouldn't necessarily expect from the arrangement – almost a bit of a bounce at the bottom, always helping the groove. The record includes a number of nice originals, like "Little Soul Sister", "All Things Are Possible", "Erewhon", and "Monkey Business" – plus versions of "Gotta Travel On" and "Bag's Groove". CD

One of those 70s rock albums that seems to turn up in a fair bit of collections of hip soul and jazz – a bit like the work of Harvey Mandel, and with a similar blend of blues rock currents with farther-reaching ideals! Roy Buchanan is spectacular on the guitar here – the kind of player who almost could have fronted a bigger arena rock group, given his chops – but who choses instead to keep things close to the chest, with the more down to earth vibe of his look on the cover – even though his playing here is pretty outta sight. Roy's got some great help on the album – including some of the MGs on a version of "Green Onions" – plus more guitar from Steve Cropper on other tracks, plus piano from Jan Hammer, bass from Stanley Clarke, and drums from Narada Michael Walden. Other titles include "Judy", "Your Love", "Done Your Daddy Dirty", "The Circle", and "Hidden". CD

A fantastic early solo project from guitarist Roy Buchanan – recorded for Polydor at the start of the 70s, but never issued at the time! We're not sure why the label slept on the set, as it's a searing little killer right from the start – done in a gritty mode that's far hipper than some of the other blues rock of the period – never that cliched, with some swampy elements, a few funky touches, and a strong hint of the farther-reaching modes that Buchanan would hit in later years. Roy sings, as does a young Charlie Daniels, who plays second guitar and also wrote many of the tracks – and the set also features some vocals from Joe DiGregorio, and keyboards from Bob Wilson. Titles include "Humbug Down On The River", "Billy Joe Young", "The Story Of Isaac", "Black Autumn", "Funky Junky", "There'll Always Be", "I Desire You", and "Pain". 2CD set also features a March 1971 session, and bonus tracks too – with titles that include "Roy's Bluz", "Shotgun", "Dual Soliloquy", "CC Rider (live)", "Down By The River (live)", "After Hours/The Messiah Will Come Again", and "Sweet Dreams". CD

A bluesy classic from Roy Buchanan – and a record that states his mighty guitar powers right from the very first note! In fact, although Roy sings on the record, it's the guitar that's probably the main attraction here – and the instrument often comes off first on most tunes, setting a rich current that's complemented by the vocals in ways that sometimes remind us of swamp rock modes from the late 60s – and at others which have the changes that were shifting in blues rock during the mid 70s. titles include "If Six Was Nine", "Running Out", "Man On The Floor", "Keep What You Got", "Caruso", "Okay", and "Guitar Cadenza". CD

The title might be a tipoff here – as Roy Buchanan really soars into space on an album that finds an even more majestic setting for his mighty powers on guitar – especially given that a fair bit of the album's instrumental! Roy works with a core quartet that includes Ray Gomez on second guitar, Willie Weeks on bass, and Andrew Newmark on drums – a group who are almost a fusion combo at times, and who maybe help Buchanan find one of his more compelling settings of the 70s – free from some of the song structures that vocals would provide, and sounding fantastic throughout. The set does have a great vocal workout of the Neil Young tune "Down By The River" – with lead vocals by Gary St Clair – and other titles include "You're Not Alone", "The Opening/Miles From Earth", "Fly Night Bird", "Turn To Stone", and "Supernova". CD

Bouncy, bubbly soul from Vernon Burch – one of his stone dancefloor classics from the 70s, served up with a groove that never quits! Burch is one of the few who can make a clubby set sparkle with the more personal qualities of a mellower soul album – and this excellent set is a great example of his style at the time. Production is by James Gadson, who also plays funky drums in the small backing combo – along with keyboards from Michael Thompson and guitar from Burke himself. Titles include the slightly bizarre transgender tune "Sammy Joanne (One Half Woman One Half Man)" – but other numbers are all pretty great, and include "Get Up", "Arrogant Lady", "Once Again In My Life", "Never Can Find The Way", and "For You". CD

Essential material by this funky soul legend – even if you've got his one and only album! This is an excellent compilation of the very hard to find work of this James Brown partner and singer, with a track list of 22 cuts that includes lots of cool rare funky 45 tracks, and a number of previously unreleased tracks! Bobby is excellent throughout, and the set's filled with loads of rare James Brown-produced grooves that includes "I'm Just A Nobody", "Keep On Doin What You're Doin", "We're In Love", "No One Like My Baby", I'm Not To Blame", "I Know You Got Soul", "Funky Soul (parts 1 & 2)", "Baby Baby Baby", "I Need Help", "Never Get Enough", "Hang Ups We Don't Need", "Sayin It And Doin' It Are Two Different Things" – and lots lots more, including a rare PSA urging the listener to "Fight Drug Abuse". CD

The cover's a bit creepy, but the album's still plenty great – old school Cameo still strongly in a funk-based mode, before some of the stiffer grooves of their later years! Bass is the ruler of the set – and most tracks here vamp around in a very heavy P-Funk style of groove – lots of guitar dancing around the rhythms, and plenty of spoken/sung vocals from the whole ensemble – not to mention a heavy dose of keyboards that helps keep things clean and lean! A partyful album if there ever was one – with tracks that include "Soul Army", "Enjoy Your Life", "Flirt", "Secrets Of Time", "I Owe It All To You", and "For You". CD

Massively funky work from Cameo – a set that's right in the middle of their classic early run – and still quite strong on the bass-heavy grooves the group helped inspire in countless legions of imitators! The tightness of the set is incredible – moving at a pace that's simply mindblowing, especially in a pre-sampling, pre-programming world – proof that spontaneous work by a group like this could still blow away any commercial crap! There's a few mellower moments too – always a side of the group that we love – and titles include "Use It Or Lose It", "Freaky Dancin", "I Like It", "Knights By Nights", "I'll Always Stay", "The Sound Table", and "Don't Be So Cool". CD

One of our favorite albums ever from Cameo – the group's third release! The album's got a great approach that hints at more sophisticated soul styles, but which is still firmly in charge of the bass-driven grooves that made their early albums so great – a compressed approach to the music that was copied by countless other groups at the time, but rarely came off this well! The whole thing's great – filled with excellent cuts that include "I'll Be With You", "Give Love a Chance", "Ugly Ego", "Two of Us", "Friend to Me", "Insane", and "I Want You". Super-dope – with loads of great jams! CD

A mid-80s classic from Cameo – one that showed the world that the group was still very much in the funky music game, even if their lineup had been reduced to a trio! Larry Blackmon's still at the head of the group – singing, drumming, and playing bass throughout – with plenty of support on keyboards and a variety of instruments from an army of session players called in for the record. The style's a bit less on the heavy funk tip of earlier Cameo records, but also steps along nicely in that mellower, midtempo groove that proved to be a great refuge for funk bands as the 80s wore on – a mode that's slightly romantic at times, but always handled with a bit of bounce at the bottom. Titles include "Word Up", "Candy", "She's Mine", "Don't Be Lonely", "Back & Forth", and "You Can Have The World". CD

Great early work from one of the hippest bassists of his generation! Paul Chambers cut this obscure little album in LA, featuring a "jazz delegation from the east" that included Philly Joe Jones on drums and John Coltrane on tenor – plus pianist Kenny Drew, who had already been working on the west coast – all in a style that's much more relaxed and stretched-out than most other jazz recorded in LA at the time! The album is one of the earliest small group sessions with Coltrane, and it's a very spare batch of tracks that lead off with Chambers' amazing work on bass – but which also feature some incredible early work from Trane – very raw and loud in the mix, with a lot more bluesiness than you'd expect – and we mean that in a good way! Titles include "Dexterity", "Visitation", "John Paul Jones", and "Eastbound". CD

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Tremendous horn interplay from the team of Al Cohn and Zoot Sims – and a record that may well be one of the best illustrations of their famous magic together in the 50s! The record's got a way of focusing energy, yet letting each player state themselves clearly and cleanly – almost a perfect small group variation of the larger jazz modes of a generation before – carried out here by Cohn and Sims with a great balance of tone and timing, modernism and swing! There's an excellent rhythm group on the date – Mose Allison on piano, Teddy Kotick on bass, and Nick Stabulus on drums – who almost bring in a slightly soulful undercurrent, which works especially well on Sims' solo moments. Tracks include "Two Funky People", "Just You Just Me", "The Wailing Boat", "You're A Lucky Guy", "Brandy & Beer", and "Chasing The Blues". CD

Not the group's 7th album, but a bold statement of the unity they feel as a 7 piece ensemble – perfectly lived up to in the record's well-crafted grooves! The album's one of Con Funk Shun's best overall – really solid, but never too slick, very tight in the bass department, but still soulful on the vocal tip, and never afraid to slip into a sweeter, more mellow tune. Titles include "Straight From The Heart", "Bad Lady", "Promise You Love", "I'll Get You Back", "A Song For You", and "California 1". CD

A stellar bit of boogie from Con Funk Shun – produced to perfection by Skip Scarborough, and done in a style that has lots of jazzy elements! The album was recorded well into the group's time on the Mercury label, but it's a real standout from the rest – thanks to an extremely well-written batch of tunes, and a mode of bass-heavy funk that avoids the cliches of other groups at the time – and goes for a more laidback style that sounds especially nice on the mellower numbers. Michael Cooper's great on lead vocals – and titles include "By Your Side", "Early Morning Sunshine", "Curtain Call", "Happy Face", "Juicy", "Lovestruck 1980", and "Honey Wild". CD

A stellar bit of boogie from Con Funk Shun – produced to perfection by Skip Scarborough, and done in a style that has lots of jazzy elements! The album was recorded well into the group's time on the Mercury label, but it's a real standout from the rest – thanks to an extremely well-written batch of tunes, and a mode of bass-heavy funk that avoids the cliches of other groups at the time – and goes for a more laidback style that sounds especially nice on the mellower numbers. Michael Cooper's great on lead vocals – and titles include "By Your Side", "Early Morning Sunshine", "Curtain Call", "Happy Face", "Juicy", "Lovestruck 1980", and "Honey Wild". CD

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An overlooked album from pianist Eddie Costa – recorded in the late 50s for Dot Records! The set's a bit different than some of Costa's other material from the time – in that has Eddie playing with a much heavier touch on the left hand – inflecting the keys in a bluesier mode, but also working here with some modern touches from drummer Paul Motian, who's in the trio along with bassist Wendell Marshall. Costa's tone has changed decidedly for the record – and he's often got a loudly flowing approach to the keys that echoes later work by McCoy Tyner, Steve Kuhn, and other key 60s innovators. And even though tracks are again mostly familiar numbers, Costa's really pushing them to new levels – pushing, pausing, and twisting them into unusual time structures and melodic progressions. Titles include "House Of Blue Lights", "Diane", "When I Fall In Love", "My Funny Valentine", "What's To Ya", and "Anabelle". CD

A great little album that's as hip as its cover image – one of 3 seminal mid 50s recordings for Imperial by LA altoist Sonny Criss! At this point in his career, Criss had a sharp-edged sound that could easily rival the best work by Sonny Stitt or Charlie Parker on the alto sax – but he also had a groove that was a bit more spacious, and a tone that was slightly more raspy – a wonderful quality that we can only describe as Criss-esque, recorded perfectly in the Imperial studios! The group here is a tight quartet – with Sonny Clark on piano, Leroy Vinnegar on bass, and Lawrence Marable on drums – and Criss' solos are brilliant throughout! Titles include "Wailin With Joe", "The Man I Love", "Blues For Rose", "Blue Prelude", and "Summertime". CD

A beautiful turn in style for Johnny Darrell – a singer who maybe hit kind of a pop/country mode in the 60s – but who here comes across with a nicely deep vibe! The cover image has kind of a lonely feel, and that spirit is definitely in he music too – as Darrell matures into a much better singer than we remember, and picks up elements of the rising country rock world too – a hip vibe that really works well for the songs on the album – which include work by Jackson Browne, Hoyt Axton, Lowell George, and DeWayne Blackwell. Titles include "These Days", "Brother River", "She's Headed For The Country", "Brother River", "Willing", "Mae Jean Goes To Hollywood", "Mama Come N Get Your Baby Boy", and "Meanwhile Back In Memphis". CD

Anthony David keeps on getting better and better – to a point where a record like this really makes us say "damn, why isn't this guy one of the world's biggest soul stars?" The music is completely seductive – mellow beats, acoustic guitar, and David's raspy real soul vocals – all tied together in a set of gentle rhythms that unfold as naturally as Anthony's simply-penned lyrics. And yes, the sound is possibly a bit more mainstream than before – but in a way that only helps David hit more on the mark than before – with a groove that's still plenty righteous, but which should hopefully be opening up whole new audiences to his music. Titles include "Stop Playin", "Spittin Game", "Smoke One", "GA Peach", "Cold Turkey", "Krooked Cop", "Cheatin Man", and "Words", which features India.Arie. CD

Five fantastic albums from the legendary Spanish guitarist – all packaged with original album sleeves too! First up is El Duende Flamenco – a richly personal vision of music – played by Paco with incredible deftness on the guitar, yet with a way that's never trying to show off, or bury feeling with any overdone sense of technique! Instead, De Lucia creates this really special sort of magic on the instrument – unlocking amazing tones and colors with effortless ease – all with the energy you might expect from a free jazz musician on the instrument, yet always directed in a tuneful, musical way. The album's a key early accomplishment from Paco – and although some tracks have light additional strings, these are used very gently to shade in the background, and still leave the set with the feeling of a solo album overall. Titles include "Percusion Flamenca", "Barrio La Vina", "De Madruga", "Cuando Canta El Gallo", "Canestera", "Punta Del Faro", and "Farolillo De Ferria". Fuente Y Caudal is one of our favorite albums ever from the legendary Paco De Lucia – and a set that really has the guitarist coming into his own – stepping past even his rich flamenco roots, and coming up with a new style that's practically a genre unto itself! Paco's sense of imagination here is wonderful – freed up from any previous expectations, and really set loose on the strings of the guitar – coming up with an amazing blend of rhythm and melody in these fast flurries of notes – at a level that's as passionately powerful as it is breathtaking from a sheer technical perspective. Ramon De Algeciras joins Paco on two tracks, but most numbers are solo – and titles include "Fuente Y Caudal", "Entre Dos Aguas", "Plaza De San Juan", "Los Pinares", and "Cepa Andaluza". En Vivo Desde El Teatro Real is a strong live set from the great Paco DeLucia – one that has his sublime acoustic guitar sounds really ringing out in the large space of a theater – which creates a slightly different vibe than some of his more close-up studio records of the 70s! DeLucia is extremely commanding in this space – and seems to reach out with even more majesty than ever – incredibly deft work on the strings of the guitar, full of fire and feeling – on a set of original numbers that reference tradition, then completely dismantle it as well. Ramon De Algeciras joins on a bit of second guitar, and titles include "Solea", "Fandangos", "Rumba", "Guajiras", "Alegrias", and "Tarantas". Almoraima is a brilliant 70s set from guitarist Paco DeLucia – one that really shows him stretching out with even more pride and power than before – finding that really unique groove that was part jazz, part flamenco, but really something very special of his own! Paco's got a highly rhythmic way with his guitar – using the instrument almost as much as a drum in some passages – while still being able to carve out these complicated passages on the strings, with dynamic energy that few American players might be able to match. Ramon De Algeciras plays second guitar on the record, but most of the music is from Paco's own instrument – and titles include "Rio Ancho", "Plaza Alta", "Ole", "Llanos Del Real", "Almoraima", and "Cueva Del Gato". Last up is a beautiful album in which Paco De Lucia Plays Manuel De Falla – songs by the famous composer that include "Danza De La Molinera", "Danza Ritual Del Fuego", "Danza De Los Vecinos", "Escena", and "Cancion Del Fuego Fatuo". CD

Fantastic work from this very cool soundtrack – two upbeat, groovy tunes that are both centerpieces of the famous score by Francois De Roubaix! "Repetition" is already great – and "Piti Piti Pas" is even cooler, with lots of weird touches and rhythms! 7-inch, Vinyl record

A magical exercise in understatement – and one of Blossom's best albums for Verve! The late 50s session features Blossom back in the US and working with a small combo that includes Bobby Jaspar on flute, Ray Brown on bass, Kenny Burrell on guitar, and Ed Thigpen on drums – all grooving with Blossom's vocals and piano in a spare, yet swinging approach to jazz! The tracks are touched with those wonderful little touches and sweetly-voiced moments that always make Blossom's records better than the rest – and titles include "Little Jazz Bird", "Gentleman Friend", "Boum", "L'Etang", and "Chez Moi". CD

An amazing record – one that we'd never part with! The session is one of Blossom Dearie's greatest records ever – a sublime set of tunes recorded in London, at the end of the 60s, with larger arrangements than usual, and a feel that's almost psychedelic. Backings were arranged and conducted by Brian Gascoigne – with a host of Brit underground jazz players that include Harold McNair, Ian Carr, Kenny Wheeler, and Ray Warleigh. More incredibly than that, though, is the set of tunes that Blossom wrote and chose for the record – tunes that have really dark edges, playful turns, and which go past the simplicity of some of her other work. The whole thing's truly amazing – really – and is a record that we've been coming back to again and again and again over the years! Titles include "I Know The Moon", "Long Daddy Green", "Hey John", "That's Just The Way I Want To Be", "Dusty Springfield", "Will There Really Be A Morning", and "I Like London In The Rain". LP, Vinyl record album

A stone classic from that great early 80s run by DeBarge – that time when they were really reinventing the group soul sound for a new generation, finding a way to bring back older sweet soul modes, but with a very different twist! The record's as strong as its predecessors, although slightly more commercial – but since DeBarge were never going to be one of the rootsiest acts in soul, we can hardly fault them for that! Titles include "Who's Holding Donna Now" and "Rhythm Of The Night", plus "Single Heart" off the DC Cab soundtrack, and "You Wear It Well", "The Walls Come Tumbling Down", and "Share My World". CD

A perfect complement to Paul's other early album on CTI – From The Hot Afternoon – and like that one, this album's a swirling match of tracks that mix together bossa rhythms, jazzy orchestrations, and Desmond's impeccably sharp alto sax. Don Sebesky handled the arrangements, giving the album a slightly more moody sound than the other CTI set – and players include Airto, Mike Maineri, Ron Carter, Herbie Hancock, and Idris Muhammad (as Leo Morris). Titles include "North By Northwest", "Olvidar", "Samba With Some Barbeque", "Where Is Love?", and "Lady In Cement". CD

The classic single! "X Gon' Give It To Ya" kicks of loudly but loose, a horns and a growly intro from DMX before falling into that steady beat and DMX balancing wild energy and on beat control. We paired with the equally huge "Party Up" (Up Here)" on the flip. 12-inch, Vinyl record

Some of the most soulful jazz recorded in Europe during the 1960s – four full albums by legendary German saxophonist Klaus Doldinger, plus a bonus compilation that's filled with rare singles too! Doldinger's probably best remembered for the more dynamic fusion he cut with the Passport group in the 70s, but back in his early years he was full on soul jazz player, steeped in the tradition of Gene Ammons, Lou Donaldson, Sonny Stitt, and others before him – all players that we'd easily rank Doldinger with during these years, given the ultra-high level of his work for Philips! But given his German orientation, Doldinger also picked up on some of the freer influences that were running around the European scene of the 60s – and the tracks here don't just sparkle with American soul jazz sounds, but also show a bit of Brazilian and more progressive jazz influences as well. And alongside Doldinger's tremendous tenor and soprano sax, the recordings here are equally noteworthy for the organ lines of Ingrfried Hoffmann – an ultra-cool player on the Hammond, with the mixture of rhythmic energy and playfulness you might find in the work of Jack McDuff for Prestige at the same time! Doldinger and Hoffmann cook tremendously throughout – so much so, you can easily forget their country of origin, and just put these sides on equally next to your favorites from Prestige or Cadet. The set features four rare albums, each in tiny LP-styled sleeves – plus the So Much Doldinger set, which features 17 titles in all, including some Latin-styled tunes, and others cut with Paul Nero's Blue Sounds combo. CD

A landmark bit of bossa – one of the first albums ever recorded by Joao Donato, the Brazilian pianist whose styles would go onto influence many in the coming years – and the US issue of the the 1962 Polygram album Muito A Vontade! Joao's got an incredibly fluid touch on the keys – gentle but jazzy, filled with lots of warm and soulful overtones that were sometimes missing from other, cooler bossa piano players. And on top of all of that, he's got a real flair for composition – and pens some wonderful tunes for the session, like the classics "Sambou Sambou", "Tema Teimoso", "Jodel", and "Vamos Nessa". Killer stuff all around, and with the great Milton Banana on drums, Sebastian Neto on bass and Amaury Rodrigues on percussion. Great early work from Donato – and the US issue of the 1962 album Muito A Vontade. CD

A fantastic lost set – some of the most interesting early 60s work by both of the players! The group's co-led by Kenny Dorham and Jackie McLean – with rhythm backing by Walter Bishop Jr on piano, Leroy Vinnegar on bass, and Art Taylor on drums – a trans-continental trio of players who really make for a lot of fire in the date! The quintet play a fiercely modernist approach to hardbop – somewhat like McLean's studio albums from the time, but even a bit more unbridled, thanks to the live setting of the album – which was recorded at the Jazz Workshop in San Francisco. Titles include "Us", "San Francisco Beat", "Lover Man", and "No Two People". CD

Dr Hook were always one of the weirder groups in mainstream rock during the 70s – a group who were maybe founded in roots rock modes, but who often had a funky current in their rhythms – and this very weird blend of catchy tunes and the offbeat lead vocals of Ray Sawyer! The sound's a bit hard to describe, but surprisingly compelling over the years – kind of like the hippies taking over the corporation – which is a bit like the image on the cover! Titles include "Let Me Be Your Lover", "Levitate", "Everybody Loves Me", "Cooky & Lila", "Everybody's Making It Big But Me", and "The Millionaire". CD

A record that's almost as wonderful as the cartoon on which it was based – thanks to Boris Karloff narration, words by Dr Seuss, and some mighty weird lyrics sung by Thurl Ravenscroft – all of which make the audio portion of this famous Holiday cartoon just as great as the visuals! This special record brings together all the best bits from the 30 minute Christmas short – including the song "You're A Mean One Mr Grinch", and "Welcome Christmas", "I Must Stop Christmas", "Trim Up The Tree", and "Tomorrow Is Christmas" – and also features the full story, too – with the same Boris Karloff narration from the cartoon! LP, Vinyl record album

One of the Dramatics' best albums, and a real masterpiece of 70's group soul! The style here is a bit different than the group's previous records for Stax – maybe a bit tighter, with sweet arrangements – but these fantastic vocals that cut through everything and grab you to your core – a bit like the way The Dells could always sound amazing in the 70s, no matter what the setting! The approach really takes the group up to the next level – with fantastic vocals from Ron Banks and LJ Reynolds, and superbly sophisticated sounds from the Detroit Groovesville crew. Titles include "I Dig Your Music", "How Do You Feel", "Thousand Shades Of Blue", "I Cried All The Way Home", and "Good Things Don't Come Easy". CD

An unusual album of vocal material from Len Dresslar – the Chicago singer who's best known for the "Chicago Cubs Song"! This set was most likely produced to circulate Len's voice around town – the label has a "demo/not for sale" notice – and the vibe is jazzy, with titles that include "A Man & A Woman", "On A Clear Day", "Quiet Nights", "How Insensitive", and "On The Street Where You Live". LP, Vinyl record album

A record that gave Yvonne Elliman one of her biggest solo hits – the huge disco crossover cut "If I Can't Have You" – but a set that also features a nicely wide-ranging mix of material too! The album's got a much more balanced vibe than you'd expect from the single – some mellower cuts that almost seem to respect Yvonne's vocals even more, and touches of global rhythms at points that illustrate her role as a bigger star around the world, thanks to roles on stage and screen. In addition to "If I Can't Have You", other titles include "Sailing Ships", "Baby Don't Let It Mess Your Mind", "In A Stranger's Arms", "I'll Be Around", and "Sally Go Round The Roses". CD

The fourth and final Eric B & Rakim LP from their classic mid 80s to early 90s run – with some of Rakim's finest rhymes and most devasting delivery to date, and some of Eric B's best production, too! The title track, if course, is a monster – with Rakim's precise rhymes, the furious funky beat, massive soul jazz bass and horn bit culled from Young-Holt Unlimited and Kool & The Gang samples, it'll be a stunner til the end of time – but the record as a whole deserves an eternal shelf life. The end of an incredible era in hip hop. "What's On Your Mind", "Teach The Children", "Pass The Hand Grenade", "Casualties Of War", "Rest Assured", "The Punisher", "Relax With Pep", "Keep The Beat", "What's Going On" and "Kick Along". LP, Vinyl record album

No sophomore slump for the second Eric B & Rakim album – benchmark hip hop of the first order and up there with the best of all time! Following up Paid In Pull was no easy task, and the appropriately titled Follow The Leader makes it look easy, completing one of the great one-two punches in hip hop history by bring in a richer, fuller, more skillfully creative sound, without sacrificing the dense, hard hitting, sparely funk greatness of the debut. Includes the awesome title track, plus "Lyrics Of Fury", "Microphone Fiend", "The R", "Musical Massacre", "No Competition", "Just A Beat", "Eric B Never Scared", "Put Your Hands Together", "To The Listeners" and "Beats For The Listeners". LP, Vinyl record album

Finally! Someone's gone and done a proper job of reissuing the great work of the legendary ESG! The group are a key chapter in the New York groove scene – and were a seminal link in the post-punk, post-disco, old school hip hop years, when bands and styles were criss-crossing the Big Apple like crazy. The four Scroggins sisters made up the group, and were helped by their friend Tito Libran on added percussion. ESG had this mad choppy groove that mixed raw guitars, heavy conga, and rolling basslines into a sound that was sampled heavily back in the day, and which would make the best of today's post-rock groups weep! Similar to their labelmates Liquid Liquid on 99 Records, but with a groove that's totally unique, and a hot jumpy sound that's still pretty darn fresh today! The material here is lovingly collected and packaged with the usual Soul Jazz flair – and there's a total of 16 tracks that include "Moody", "Get Funky", "Hold Me Right", "Tiny Sticks", "Moody (Spaced Out)", "You're No Good", "Come Away", "Parking Lot Blues", "About You", and the legendary sample cut "UFO". CD

A great package – 5 wonderful albums from Bill Evans, all in tiny LP-styled sleeves! Explorations features the Bill Evans trio with Scott LaFaro on bass and Paul Motian on drums – a near-perfect lineup that forever raise the bar for jazz piano expression! The title here is certainly apt – because even though many of the tunes are shortish, Evans has a sense of exploration in the way he's approaching the keys – one that still retains some of the lyrically rhythmic traces of his first few records – but which also glides forth into territory that was virtually untapped on record for the time. The revolution here is so subtle, it's easy to miss from the perspective of our generation – but give it a few listens, and the record will open up beautifully! Titles include "Israel", "Haunted Heart", "Elsa", "Nardis", and "I Wish I Knew". Waltz For Debby is an incredible album from Bill Evans – and maybe THE record you need in your collection if you're trying to understand his contribution to jazz! The album's one of Evan's first sides from the Village Vanguard – and features the legendary trio that included Scott LaFaro on bass and Paul Motian on drums – both players who could shake free from conventional rhythmic roles in a piano trio, yet who also support Evans' lyrically modal playing here beautifully! The tracks are a bit longer than Bill's studio sides from the time, allowing for even more magical interplay on the keys – and titles include "My Foolish Heart", "Waltz For Debby", "Detour Ahead", "My Romance", "Some Other Time", and "Milestones". Moonbeams is a very hip set from Bill Evans' second trio – the legendary lineup that featured Chuck Israels on bass and Paul Motian on drums! Both players bring Evans' sound to an even greater level of spaciousness – allowing for lyrical interplay that's completely amazing, and even furthers the promise of genius made by Bill on his first few albums – a bold step forward that really makes this album one of Evans' standout sets of the early 60s! Titles include an early reading of Evans' wonderful tune "Re: Person I Knew", plus "Very Early", "In Love In Vain", "Stairway To The Stars", "I Fall In Love Too Easily", "If You Could See Me Now", "It Might As Well Be Spring", and "Polka Dots & Moonbeams". Interplay is a rare quintet outing for Evans – one that breaks the mode of the usual trio format by adding in Freddie Hubbard on trumpet and Jim Hall on guitar – alongside rhythm players Percy Heath on bass and Philly Joe Jones on drums – already a unique enough match for Evans' talents! The pairing of Evans and Hall has been beautifully documented on other records – and sounds equally great here – but the real treat is Freddie Hubbard's horn, which often lays back on most of the tracks, then bursts in with a brashness that really ignites some of the tunes! Titles include "When You Wish Upon A Star", "You & The Night & The Music", "I'll Never Smile again", "You Go To My Head" and the Evans original, "Interplay". At Shelly's Manne Hole is a great west coast live date from Bill Evans – one that showed that his magic on the keys was equally at home in LA as it was in New York! The session's especially noteworthy for the presence of drummer Larry Bunker – a great player who worked on countless recordings, both jazz and non-jazz, but who hits a new level here with the Evans Trio – one that almost matches that of Paul Motian for his sensitivity and lyrical interplay with Evans' piano and the bass of Chuck Israels! Titles include "Blues In F", "Our Love Is Here To Stay", "The Boy Next Door", "Swedish Pastry", and "Round Midnight". CD