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

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

A mellow soul masterpiece from Randy Brown – a crucially-overlooked talent from the late 70s, working here with a totally put-together vibe! The album's got the mature, mellow feel of some of the best work by better-known 70s contemporaries – like Leroy Hutson or Lamont Dozier – polished, but never slick – and flowing out with a sensual groove that's especially nice on the more laidback or midtempo cuts. Randy's vocals have some great deep soul echoes – much more so than other singers of this type – and mixed with the warm production from Homer Banks and Carl Hampton, they give the album a rich quality that totally grabs us – a bit like some of Teddy Pendergrass' best mellow work with The Blue Notes. Titles include "I Love You Baby", "Love Is All We Need", "Do It Baby", "Too Little In Common", and "I'd Rather Hurt Myself". 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

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

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A great 80s groove from Cameo – but one that's still done in the group's best early funk ensemble mode! There's maybe a bit more emphasis on the basslines and keyboards than before, but the sound of the music is still wonderfully full and spontaneous – very much in keeping with the warmly collaborative look of the group on the cover, who really sound like they're having a hell of a lot of fun making the record! The rhythms have a razor-sharpness that just about nobody else can touch – and there's all these cool little instrumental flourishes that sneak into the mix and really keep things interesting – odd sounds on familiar instruments, moogy moments on keyboards, and even some vocal inflections that come as a nice surprise. There's two nice mellow cuts – "Feel Me" and "Is This The Way", which have a sweetly compressed harmony sound on the lyrics – and funky numbers include "Better Days", "Keep It Hot", "Roller Skates", and "Is This The Way". CD

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

One of the best albums that Al Cohn and Zoot Sims ever cut together – and that's saying a lot, given the strength of their collaborations during the 50s and 60s! The set's got a nice small group feeling, and is a bit more open and relaxed than some of their RCA material – still in the sharp, thoughtful mode that marked both Cohn and Sims' sessions – but also a bit more earthy, too – possibly because they've got Mose Allison in the combo on piano. The album includes the incredible spare sax-only track "Improvisation For Unaccompanied Saxophones", which is an extremely haunting track that sounds unlike anything the pair had ever done together – and other titles have the full quintet playing, tunes that include "The Opener", "The Note" and "You N Me". 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

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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 great record from The Crusaders – and an album that's really the start of the group's strong run of smooth funky jazz for the 70s – a very vibrant little set, even though the black and white cover makes the whole thing look a bit understated! The album's got the group dropping the "jazz" from their name, but it's still a great bit of LA funky soul jazz – with electric keyboards from Joe Sample that are very much in a late 60s mode, plus guitar from David T Walker and Arthur Adams, and bass from Chuck Rainey, in addition to fine work by regulars like Stix Hooper, Wayne Henderson, and Wilton Felder. Tracks have a tight and uncomplicated funky approach, with a slightly smooth edge – and titles include "Do Yourself A Favor", "Try A Little Harder", "Cold Duck Eddie", "Way Back Home", and the Afro-funky groover "Alekesam"! CD features bonus tracks "Hatty May" and "Wayne's Pop". CD

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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

One of our favorite-ever Miles Davis albums – and a groundbreaking soundtrack that forever changed the way that jazz music was used in film! According to legend, the sounds here were recorded by Miles on a hot Paris night – late in the studio, after a live performance – in a very intimate setting that had he and the combo creating these little poetic passages along with the action in the film! In addition to sublime and moody muted trumpet from Miles – the small group also features tremendous tenor work from the great Barney Wilen – a French modernist who's at the height of his powers – and beautiful bass from Pierre Michelot, whose rich tones really frame the whole proceedings. The rest of the group features bop pianist Rene Urtreger and American drummer Kenny Clarke – but the real charm comes from the interplay between Wilen, Davis, and Michelo. Titles include "Florence Sur Les Champs-Elysees", "L'Assassinat De Carla", "Diner Au Motel", "Evasion De Julien", "Nuit Sur Les Champs-Elysees", "Le Petit Bal", "Au Bar Du Petit Bac" and "Sur L'Autoroute". This amazing 2CD version features one never-issued track – "L'Interrogatoire De Julien" – plus 16 more tracks from the sessions for the recordings, and a 60 page booklet of notes! 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

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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

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

The debut of greatness from Will Downing – an album that really sparkled in the late 80s musical galaxy, and which strongly updated an older style of richer soul from the 70s! Will's working here with equal parts influence from jazz and soul – inflected by work from talents that include Brian Jackson, Arthur Baker, Doug Wimbush, and Keith LeBlanc – held together mightily by the legendary Downing vocals! In world where so much mainstream soul seemed adrift, Will brought back the power of older male vocalists with a classic presence – one that didn't succumb to the easy cliches of the mid 80s mainstream, and which really helped raise the bar for generations to come. Titles include a great remake of Denice Williams' "Free", a surprising take on John Coltrane's "Love Supreme", and the tracks "Do You Remember Love", "Do You", "In My Dreams", "So You Wanna Be My Lover", "Security", and "Dancing In The Moonlight". 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

The third album from Eric B & Rakim – absolute classic MC/DJ duo hip hop and maybe their most solid from beginning end, as impossible as that should've been after high bars they set with Paid In Full & Follow The Leader! By this point, Rakim was firmly established as one of hip hop's greatest rhymers, but he still steps to a higher level here, with a more forceful approach on some grittier material and his trademark cool and measured flow on others. "Let The Rhythm Hit Em" and "In The Ghetto" strong enough to call this a classic on their majesty alone, but this one's got one should-be standout track after another including "Mahogany", "No Omega", "Keep Em Eager To Listen", "Step Back", "Run For Cover" and more. LP, Vinyl record album

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

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An amazingly beautiful set of tracks from Art Farmer – playing here with superb accompaniment from a young Harold Mabern on piano, in a laidback quartet format that really lets Art open up! Art's playing is fresh and creative throughout – never too over the top, and always blown with that subtle genius that he was bringing to his work in the 60s – a pure exercise in understatement, with a quality that seems to make the notes fall out of the air by themselves. Rhythm is by Tommy Williams on bass and Roy McCurdy on drums – and the choice of material includes Tom McIntosh's great composition "The Day After", plus Art's "Punsu" and "Kayin" – and versions of "Change Partners", "Blue Room", and "Nobody's Heart". CD

A pretty sweet 70s set from Art Farmer – ostensibly a tribute to Duke Ellington, but really more of a gently soulful session in the mode of Art's best work of the decade! The group is the Cedar Walton trio with Walton on piano, Sam Jones on bass, and Billy Higgins on drums – all matching Art's lyrical work beautifully, in a soulfully swinging way that transforms familiar Ellington numbers into new vehicles for creative expression. Farmer's at the height of his powers, and tracks include "Love You Madly", "Lush Life", "In A Sentimental Mood", and "The Star Crossed Lovers". CD

A pretty sweet 70s set from Art Farmer – ostensibly a tribute to Duke Ellington, but really more of a gently soulful session in the mode of Art's best work of the decade! The group is the Cedar Walton trio with Walton on piano, Sam Jones on bass, and Billy Higgins on drums – all matching Art's lyrical work beautifully, in a soulfully swinging way that transforms familiar Ellington numbers into new vehicles for creative expression. Farmer's at the height of his powers, and tracks include "Love You Madly", "Lush Life", "In A Sentimental Mood", and "The Star Crossed Lovers". CD

We'll be the first to admit that the piano and compositions of John Lewis can sometimes be a bit stiff and academic – but that's definitely not the case on this great little record! The album features interpretations of Lewis' work by the great Farmer/Golson Jazztet – and is a pretty sweet batch of tracks that adds a lot of the emotion and soul that's usually missing from Lewis' music. Cedar Walton's playing the piano parts, which probably helps the groove a bit, and the group's tight hard sound puts in a "bottom" that you'd hardly hear when listening to John Lewis with the MJQ. In fact, Lewis isn't even on the record – just billed in the title because he contributed the compositions – classics that include "Odds Against Tomorrow", "Bel", "Milano", and "New York 19". CD

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Slow Motion Bossa Nova certainly fits this one – a beautiful album of lush jazzy arrangements, done in the 60s style of artists like Roberto Menescal or Lalo Schifrin, but with added touches of soulful vocals by Celso Fonseca. The assemblage of musicians on the record is great – and players feature old and young bossa talents that include Joao Donato, Robertinho Silva, Marcio Montarroyos, Luiz Alves, Daniel Jobim, and Jaques Morelenbaum. The album's far more than a 60s bossa reprise – as it's filled with original tunes that sparkle with the gentle easiness of some of Ivan Lins' best work of years past. Titles include "Satelite Bar", "Samba E Tudo", "A Voz Do Coracao", "Dylan Em Madrid", "Feito Pra Voce", "Miles Ahead Of Time", and "O Sorriso De Angkor". CD

Basie may be his boss, but Frank Foster's definitely his own man – especially working here on this hip little session for Chess Records – a small group date with some key members of the Count's ensemble! There's a bit of the Basie sense of arrangement in the tunes – especially in the playful way the horns come together – but other points have a looser, more soul jazz sort of approach – a great mix of modes that's a bit like some of Foster's recordings of the 50s, but even groovier overall! In addition to Frank's tenor, the group also features excellent flute and tenor from Eric Dixon – plus trumpet from Al Aarons, piano from John Young, bass from Buddy Catlett, and drums from Phil Thomas – on titles that include "Samba Blues", "Kelly Blue", "May We", and "Vested Interest". CD

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Jun Fukamachi has plenty of keyboards here – Fender Rhodes, Hammond organ, Clavinet, minimoog, and many more – using them all to great effect amidst tight funky backings by a lineup that also includes work from The Brecker Brothers and trombonist Barry Rogers! The set's in the more soul-based side of fusion for the 70s – but also has a vibe that's a bit different than some of the more R&B-drenched work of the Japanese scene – maybe more keyboard-forward, but still quite grooving – not as quirky as some of Jun's later records. The set also features some guitar from Kazumi Watanabe and bass from Anthony Jackson – and titles include "Spiral Steps", "In The Holiday Groove", "Taft 1082", and "Scoto Phonobine". CD

France Gall won the Eurovision song contest with the title track of this one – and for good reason too, given that the tune is totally groovy! The rest of the work here really follows suit – romping, jerking, and grooving in that wonderful mix of mod rhythms that made France's 60s material so great – some of the best of the French pop scene at the time, with a sound that's really a cut above on all the numbers here! Backings are by the mighty Alain Gouraguer, who brings in a hip mix of jazz inflections, rocking rhythms, and some of the more sparkling soundtrack elements bubbling in the French 60s scene – all a perfect accompaniment for Gall's catchy girl pop vocals. Titles include "Poupee De Cire Poupee De Son", written by Serge Gainsbourg – plus "Le Coeur Qui Jazze", "Le Premier Chagrin D'Amour", "On T'Avait Prevenue", "Dis A Ton Capitaine", "Nounours", "Laisse Tomber Les Filles", and "Bonne Nuit". CD features bonus stereo mixes of "Poupee De Cire Poupee De Son" and "Prince Charmant". CD

Fantastic work from France Gall – a breathy little tune with a great bossa groove – served up here in a cool replica Japanese pic sleeve single! France sounds wonderful on the tune – and there's this raspy guitar that steps along a groove too – bringing in a nice sort of twang! "Polichinelle" is very cool too – almost a baroque pop number, with fluttering flute next to the vocals! 7-inch, Vinyl record

A great one from the Gap Band – funky gems and sinister groovers – the best of both worlds for the group! Tunes like "Burn Rubber On Me (When You Want To Hurt Me)" and "Humpin" packed 80s dance floors for good reason, and put the band in steady rotation, while numbers like "Yearning For Your Love" showed the band could drop the tempo, stretch out a bit, and deliver the mighty mellow. This one's certainly at the top of the heap of 80s groovers, as far as we're concerned – a record that really took the Gap Band over the top! Other tracks include "Nothin' Comes To The Sleepers", "Are You Living", "The Way", "Gash Gash Gash" and more. CD

Perhaps the ultimate album for The Gap Band – and sure, it was a hit, but the record still sounds great today, and the constant sampling of some of the record has kept it fresh in the crates for years and years. The band have lost the heavier funk sound of earlier years, and working in a slick 80s groove mode that they both helped to define and put on the charts with the tracks "Outstanding" and "Early In The Morning", both two killer grooves with a complicated instrumental feel, and some wicked harmony vocals over the top. Lonnie Simmons is still producing the band – and other tracks include "Lonely Like Me", "Stay With Me", "Talkin Back", and "You Dropped A Bomb On Me". CD

Pure and simple pianistics from the great Erroll Garner – an album built around his famous composition "Misty", and featuring a number of other tunes played with equally fragile beauty. Titles include "That Old Feeling", "Where Or When", "Again", "Frantenality", "What Is This Thing Called Love", and "Exactly Like You". CD

Marvin Gaye and Tammi Terrell – definitely all you need, if you're looking for Motown duet work of the 60s! The album's possibly the best-remembered from the pair – filled with classics that really define the Marvin duo mode – sublime little tunes that have Gaye and Terrell trading lines back and forth, almost as if they were conversing together as a romantic couple! Production is sublime – handled by Harvey Fuqua and Johnny Bristol – and the grooves have a great mix of high moments and low-dipping notes, which further underscores the depths of feeling in the vocal performances. The title cut's one that we never tire of hearing – and the LP's got lots of other nice moments, including "Come On & See Me", "I'll Never Stop Loving You Baby", "Memory Chest", "Give In You Just Can't Win", and "Ain't Nothing Like The Real Thing". CD

One of the greatest records ever cut by altoist Herb Geller, and one of the few to document the work of his group that included wife Lorraine Geller on piano! Lorraine's quite nice, and the rhythm by Keith Mitchell and Mel Lewis is good too – but the real wonder is Herb's alto, which cuts along in a razor-sharp mode that clearly defines him as one of the best players of his generation on the instrument! The set's one of the few times you can really hear Herb cut loose – unencumbered by overwritten arrangements, or by other players in the group – and its his work on the album that makes this record a treasure! Titles include "The Answer Man", "Patterns", "Suppertime", "The Heather On The Hill", and "Love". CD

One of the few albums ever cut as a leader by pianist Lorraine Geller – a player who's probably best remembered for her work with saxophonist (and husband) Herb Geller, but who also really swings nicely on her own! The album has Lorraine working with an LA trio that features Leroy Vinnegar on bass and drumming by either Lawrence Marable or Bruz Freeman – all of whom bring in a very soulful undercurrent to the record, helping bridge the two sides of the LA scene of the time, and making the album way deeper than you'd expect from the slightly elegant cover and title! The tracks aren't as strikingly modern as work cut by her husband during the 50s, but are quite strong nonetheless – with many unusual titles that include "Clash By Night", "Madam X", "Mystery Theatre", and "Everybody's Blues". CD

Way more than the simple Charlie Parker tribute promised in the title! For starters, the set's got two of the best cuts by Gillespie's mid 60s group with James Moody – "Um-Hmmm" and "Groovin High" – both of which have Moody playing in an incredibly unbridled tone that's just great! Next up are Coleman Hawkins and Roy Eldridge fronting a hip group with Billy Taylor on a long version of "Now's The Time". Taylor also makes an appearance on Dave Lambert's scatted vocal version of "Donna Lee", as well as on a large group medley of the tunes "Bird Watcher" and "Disorder At The Border". Finishing off the set is an amazing Lee Konitz solo version of "Blues For Bird", his own composition, played as a spare solo tune on alto! 9 tracks in all. CD

Without a doubt, Benny Golson is one of the most underrated tenorists of his generation – a player with a tone and conception that's always tremendous – but which comes across especially well on this early 60s session for Argo Records! As you might guess from the title, things aren't as tightly structured as on some of Benny's more arranged albums of the period – and he opens up wonderfully in a small group setting – playing in a beautifully confident tone, but with a slightly raspy edge – cutting, changing, and swinging perfectly in lines that are masterfully crafted, yet full of raw emotion. The group's a thoughtful quartet, and includes Tommy Flanagan on piano, Ron Carter on bass, and Art Taylor on drums – and tracks that inlcude "Sock Cha", "Shades Of Stein", "Just By Myself", and "Just In Time". CD

An incredible, and oft-overlooked album from the great Benny Golson – and one of the few early albums that really point the way to his huge run of work for decades to come! The style here is a bit looser, and more open than some of Golson's previous albums – less of a focus on arrangements, and more on the spontaneous interplay between his tenor and the crack rhythm section – which features Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – a dream lineup who really make the record sparkle. But the real star of the show is Golson – who's hitting this raspy, soulful tone he never had before – much freer of soul jazz formalities, and with a modern edge that's wonderful – as you'll hear on titles that include "Alone Together", "Turning Point", "Stella By Starlight", and "Dear Kathy". CD

A later live date from Benny Goodman – one recorded in Stockholm with a bit of the Phase 4 sound – an approach that makes for some wonderful clarity on his clarinet, really standout out in front of the group on most of the numbers! The recording features a bit of patter in between the numbers – and mostly, the tracks are older tunes played here in an effort to update the Goodman groove. Titles include "Blue Skies", "Sing Sing Sing", "Goodbye", "Let's Dance", "If I Had You", "Don't Be That Way", "Willow Weep For Me", and "Turkish March". CD

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The second part of a great Japanese-only session recorded in 1980 – one that features a later edition of the Great Jazz Trio – with Eddie Gomez on bass and Al Foster on drums, next to piano by usual group member Hank Jones! The set's got a hipper feel than usual for the group – partly because Jones plays Fender Rhodes on part of the record, and partly because Gomez's work on bass gives the proceedings a warm and soulful sound – that deep-flowing groove we first came to love in Eddie's work with Bill Evans and Jeremy Steig. Foster's drums are great too – and have a sense of sharpness that changes the Great Jazz Trio sound nicely. Titles include "Peedlun", "Light Listened", "Duplex", "Just Before Dawn", and "Sublime". CD

One of the most open-ended sessions ever recorded by the Great Jazz Trio of Hank Hones, Ron Carter, and Tony Williams – a live set from the Village Vanguard, and one that features them really stretching out on 4 longer tracks! Jones' work on piano is an especially nice treat here – as he's still got the poise that we know from his more restrained studio sessions, yet also seems to really loosen up with the warm rhythm accompaniment of Carter and Williams. The session features a great obscure gentle groover titled "Wind Flower", plus a really introspective take on Miles Davis' "Nardis", and the tunes "Lawra" and "Confirmation". CD

The Village Vanguard seemed to be one of the greatest settings for the Great Jazz Trio of Hank Jones, Ron Carter, and Tony Williams – as the venue really let them stretch out in the kind of loose, open lines that made their 70s albums so great! This set's the 3rd that the trio recorded at the Vanguard – and it's very much in the best spirit of its predecessors – gently soulful, with a strong focus on the individual talents of the players, yet nary a moment of overindulgence. The set includes 5 long tracks – "Hi Fly", "Sophisticated Lady", "Wave", and "Softly As In A Morning Sunrise". CD

A great Tokyo meeting from this wonderful trio – and a great little record that even stands out from most of their others from the time! The set's got a surprising amount of original material by the members of the group – as each player contributes at least one title – and these compositions really help give the whole thing a very fresh, personal vibe – quite different than the more common use of standards on some of their other albums. And although Hank Jones is billed as the "owner" of the group on the title, the set is the same sort of wonderfully collaborative effort as usual – with some specially brilliant work on bass from Ron Carter, and well-chosen work on drums from Tony Williams. Titles include "Forever", "To Destiny", "Pink Lady", "GJT", and "Mellow Blues". CD

The title's a wonderful one – given the warmth and great spirit of this legendary trio – a near-perfect assemblage of the talents of Hank Jones on piano, Ron Carter on bass, and Tony Williams on drums! Both Carter and Williams help Hank to hit the hipper side of his talents for the 70s – and together, they work as one – with a well-rounded, well-crafted style that's a great testament to the group's strong appeal at the time. Titles include "Freedom Jazz Dance", "A Child Is Born", "Mr PC", "All Blues", and "Doom". CD

A bit of a change for The Great Jazz Trio, but a great one too – given that Buster Williams is on bass here, instead of the usual Ron Carter – working with drummer Tony Williams and pianist Hank Jones to really make things sparkle! Buster's bass is always a treat, and this album's no exception – a set that's filled with some surprisingly soulful moments on the bottom, which really seems to push the group nicely on the longer tracks in the set. Jones sounds a bit different here than before – in a good way – and titles include versions of "Love For Sale", "Secret Love", "Autumn Leaves", and "Someone To Watch Over Me". CD

One of a number of late 70s milestones from the Great Jazz Trio – that sublime grouping of Hank Jones on piano, Ron Carter on bass, and Tony Williams on drums! Like the rest of their gems from the time, the album's got this simple, subtle brilliance – a way of approaching piano trio material that was quite fresh for the time – different than Jones might have sounded the decade before, and clearly influenced by the huge growth of the format in Japan – the market for which the album was originally produced. Carter really shines on the record – reminding us of his incredible ability to act as both a soloist and a rhythmatist – and Tony Williams is a great here as he is on the Herbie Hancock trio dates of the time. Titles include "Wave", "Milestones", "Mr Biko", and "Eighty One". CD

A slightly different lineup than usual for the Great Jazz Trio – but a great one too, and proof that the group had way more to offer than just familiar trio grooving! This time around, Eddie Gomez is on bass – making for a wonderfully full, rich sound in the rhythms – a perfect complement for the sly drumming of Al Foster – who adds an edge to the record that you don't always get on other sessions from the group. And Hank Jones really seems to pick up this edge in his acoustic piano playing – and then pushes it even further on his work on Fender Rhodes, which appears on a few of the album's best tracks. All these changes make for a nicely compelling record – one that's got a bit more of a soulful bottom than you might expect – and titles include "Phasar", "Pauletta", "Moreover", "My Cherie Amour", and "Another World". CD

An archetypal record from the west coast scene of the 50s – a sublime batch of lightly grooving numbers from Chico Hamilton's famous early Quintet! The power here really comes from a triad of three players – reedman Buddy Collette, mentioned in the title and playing flute, alto, tenor, and clarinet; guitarist Jim Hall, whose spacious use of his instrument set new standards with this record; and cellist Fred Katz, often an unsung hero whose gentle sound shapes really helped bring a sense of tone and color to the group. Also featured is bassist Carson Smith, giving the same great sensitive accompaniment here he did in Gerry Mulligan's early quartet – and Chico himself is on drums, of course, but often playing with unusual timings and touches that really make for a lot more than conventional rhythm! Titles include "Blue Sands", "The Sage", "A Nice Day", "Buddy Boo", and "Spectacular" – as well as "Free Form", which is totally improvised – although in a way that's very different from any 60's track that would have the same sort of name! CD

An interesting early album from Chico Hamilton – one that has him working in a trio format, quite different than the chamber modern work of his more famous quintet! The style is not dissimilar, though – as the trio lineup is drums, bass, and guitar – with both of the stringed instruments handling most of the melody, in a free floating style that's got the same "modern yet swinging" approach of some of Jimmy Giuffre's best late 50s recordings. Guitar is either by Jim Hall or Howard Roberts, bass is by George Duvivier, and drums are by Chico, natch! Titles include "Nuttye", "Porch Light", "Broadway", "Lollypop", "Uganda", "Skinned Strings", and "Street Of Drums". CD

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Easily one of the greatest records ever from the Keef Hartley Band – and certainly the group's jazziest! The album's awash in great horn parts that dance along beautifully with the rootsier vocals of the set – sung by guitarist Miller Anderson, in a rough-edged style that has some American bluesy overtones. The set features a great instrumental called "Premonition" – a really tasty little jazz rocker – and saxophonist Jimmy Jewell and trumpeter Henry Lowther get in some great licks on the album as well. Titles include "Morning Rain", "The Time Is Near", "Another Time Another Place", "Change", and "Premonition". CD