A very cool mixing of acoustic modes – a set that features the famous jazz violin of Stephane Grappelli joining the rootsy group of mandolin man David Grisman! The mix of modes is quite haunting – and Grappelli's old school lines really do a lot in the company of Grisman's new acoustic group – a lineup that also features Mark O'Connor on guitar, Mike Marshall on mandolin, Rob Wasserman on bass, and Tiny Moore on a bit of guest electric mandolin. Titles are jazzier than usual for Grisman, and tracks include "Shine", "Pent-Up House", "Satin Doll", "Tiger Rag", and "Swing 42". CD

Sublime sounds from the great Herbie Hancock – presented here in one of his amazing Japanese-only albums from the 70s! The record is a showcase for Hancock in two different modes – as Herbie plays solo acoustic piano on side one, and delivers these really haunting renditions of "Maiden Voyage" and "Dolphin Dance" – both of them long, and with relaxed exploratory solos. Side two features Herbie on a variety of electric keyboards (moog, arp, etc) – playing with the kind of imagination and funkiness that characterized his best recordings of this period. On this side, Hancock lays down a sweet electric version of "Cantaloupe Island", and a nice spiritual groover called "Nobu" – both of them great, and nearer to the electric vibe of Thrust or Flood. CD

A rare Japanese-only session from Herbie Hancock – very electric, and nicely funky in all the right parts! The set was recorded at the end of the 70s with amazing fidelity – and features a unique lineup that includes Webster Lewis on additional keyboards and Alphonse Mouzon on drums – alongside more familiar partners Bennie Maupin on reeds, Paul Jackson on bass, and Bill Summers on percussion! Given these last three, there's almost a slight Headhunters feel to the set – but the overall groove is a bit more mellow, with some wonderfully spacey touches that are super-soulful – and miles above anything that Herbie was recording in the US at the time. Titles include the sublime mellow groover "Butterfly", plus "Shiftless Shuffle", and the side-long jazzy jammer "I Thought It Was You"! CD

Seminal sides from Herbie Hancock – amazing material recorded for Warner Brothers in the years between his time at Blue Note and his big fame at Columbia Records – all sides that definitely show Hancock as one mighty righteous cat! Herbie's really stretching past his more conventional jazz of earlier years here – working both with a bit more electricity in his keys, and some larger arrangements that have a wonderful sense of flow and funk – a groove that definitely puts Hancock on a par with Quincy Jones at his funky best during the early 70s! The album's filled with great grooves pulled from the Warner Brothers albums by Hancock – including some quite long numbers – titles that include the funky nuggets "Wiggle Waggle", "Lil Brother", and "Tell Me A Bedtime Story" – plus "Sleeping Giant", "Crossings", "Quazar", "Ostinato", and "You'll Know When You Get There". CD

A treasure trove of music from one of the hippest jazz players ever – the legendary Rufus Harley, a saxophonist by trade, but one who could also play the bagpipes as well! Harley had a really unique way of using the bagpipes as a free-flowing modal soloing instrument – one that's clearly influenced by the best work of John Coltrane in the early 60s, and which really takes the instrument back to its original pre-Scottish roots in Africa! This wonderful set brings together 4 of Harley's best albums ever – Bagpipe Blues, Tribute To Courage, Kings/Queens, and Scotch & Soul – all gems recorded for Atlantic Records in the 60s, and which are presented here with 2 bonus tracks as well! Harley plays both bagpipes and saxophone on the record – the latter in a way that's equally compelling as the former – and the 2CD set features a whopping 28 tracks in all, supported by liner notes and other details. Titles include "Ali", "Where Have All The Flowers Gone", "Pipin The Blues", "Sufur", "Scotch & Soul", "Feeling Good", "Taurus The 20th", "Bagpipe Blues", "Kerry Dancers", "More", "Sunny", "A Tribute To Courage", "About Trane", "Eight Miles High", and "Love Is Blue". CD

A treasure trove of music from one of the hippest jazz players ever – the legendary Rufus Harley, a saxophonist by trade, but one who could also play the bagpipes as well! Harley had a really unique way of using the bagpipes as a free-flowing modal soloing instrument – one that's clearly influenced by the best work of John Coltrane in the early 60s, and which really takes the instrument back to its original pre-Scottish roots in Africa! This wonderful set brings together 4 of Harley's best albums ever – Bagpipe Blues, Tribute To Courage, Kings/Queens, and Scotch & Soul – all gems recorded for Atlantic Records in the 60s, and which are presented here with 2 bonus tracks as well! Harley plays both bagpipes and saxophone on the record – the latter in a way that's equally compelling as the former – and the 2CD set features a whopping 28 tracks in all, supported by liner notes and other details. Titles include "Ali", "Where Have All The Flowers Gone", "Pipin The Blues", "Sufur", "Scotch & Soul", "Feeling Good", "Taurus The 20th", "Bagpipe Blues", "Kerry Dancers", "More", "Sunny", "A Tribute To Courage", "About Trane", "Eight Miles High", and "Love Is Blue". CD

An overlooked chapter of the 70s genius of Woody Herman – and the kind of album that shows him continuing to grow strongly, many years after his initial fame! The record takes off ambitiously from some of the funkier Herman sessions of the start of the 70s – and features the core group augmented by the Houston Symphony Orchestra on side one – offering up larger backings to color in the sophisticated sounds of the tunes "Variation On A Scene" and "Children Of Lima", both jazz suites penned by Alan Broadbent, who'd done great work with Herman's group. Side two is back to straighter big band numbers – tunes that burst out with a lot of life and energy, and which have a few of the soulful stylings of Herman's previous funk. Highlights include great covers of "25 Or 6 To 4" and "Where Is The Love", plus a version of Broadbent's driving "Far In". CD

Peter Ivers's entire output for Warner Brothers in the mid 70s – including the original LPs Terminal Love & Peter Ivers, plus the Nirvana Peter compilation, which didn't appear until the mid 80s and STILL sounded ahead of its time – in a complete 2CD set! Peter has a distinctive voice and offbeat lyrical sensibility that feels a lot more akin to the arty fringe of the major labels in the early 80s than it does to 1974 or 1976, he's really a pioneer. It's no surprise at all that he'd end up being the host of LA television's legendary music program New Wave Theatre in the early 80s, but it's surprising he doesn't get more credit these days for influencing the kind thing that'd come to be called "new wave" years after his contributing work! Disc 1 includes the Terminal Love and Peter Ivers LPs, with "Alpha Centauri", "OO Girl", "Modern Times", "Holding The Cobra", "Even Stephen Foster", 'Audience Of One", "I'm Sorry Alice", "Eighteen And Dreaming", "Peter", "Rock And Roll Embarrassment", "Child In A Chair" and more. Disc 2 (the Nirvana Peter comp) features a few tracks from his 2 proper LPs and rarities. The 2CDs have 33 tracks in all. CD

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Drummer Elvin Jones is listed as the main force on the cover – but as with all of his 70s albums, the whole outing is very much a strong group affair – thanks to a killer core quartet that features Ryo Kawasaki on guitar, Pat LaBarbera on reeds and Dave Williams on bass – working with a great blend of sax and guitar that really helps refine the Elvin Jones sound of the 70s! As with other records by Elvin, there's some great guest work too – reeds from a shifting lineup that includes Dave Liebman, Frank Foster, and Steve Grossman – providing that wailing intensity that Elvin sought after the passing of Coltrane, but in a fresh new way – and Albert Dailey also adds in some sweet keyboards as well. Titles include "Salty Iron", "Sweet Mama", "Mini Modes", "Philomene", and "Song Of Rejoicing After Returning From A Hunt". CD

A cool bit of funk from reedman Robin Kenyatta – slightly electric, and often with a bit of an angular groove – almost a South African influence at times, although warmed up with a good dose of American soul as well! Most numbers here have some sort of keyboards – either from Pat Rebillot's electric piano or Neville Hinds' keyboards – and in addition to Robin's reedwork on alto and soprano sax, the set also features Enrico Rava on trumpet, Jonas Gwangwa on trombone, Carlos Garnett on tenor, and Sonny Burke on organ. Rhythm is at the core of the set – and is handled by either Ron Carter or Boris Gardner on bass, Ray Lucas or Winston Grennan on drums, and Ralph MacDonald on percussion. Parts of the set were recorded in Kingston – a fact that definitely shows in the grooves – and Betty Davis makes a brief guest appearance on vocals! Tracks include "Terra Nova", "Temptation Took Control Of Me", "Freedom Jazz Dance", "Need Your Love So Bad", "Touch", and "Island Shakedown". CD

One of the greatest albums ever by Labelle – known especially for the massive funky title cut, which has been an in-demand groover for years! "Moonshadow" begins with a nice funky piano intro, then rolls into a 10 minute groove that's really tasty – filled with lots of jazzy riffing, tasty conga, and a weird monologue by Patti that runs through different parts of the body and why you should appreciate them! The cut was lost on American audiences of the 70s, but became a huge one in the European jazz dance scene of the late 80s, probably because most of them couldn't understand how silly Patti's vocals were! The cut's nice and funky, though – and there's some other nice ones on the record, too, including "Sunday News", "Touch Me All Over", and "Peace With Yourself". Much more interesting than most of their stuff, with a hip mixture of jazz, soul, and hard grooving! CD

A live set, but one that's got some wonderfully rich grooves – almost one of the first times that Ramsey's excellent studio approach was attempted on record in a concert setting! The backings are quite full, and produced beautifully here by Tom Tom 84 – who really keeps a classy Chicago vibe in place throughout most of the set – one that stretches from Ramsey's late years at Cadet Records, through all the growth and maturation at Columbia during the 70s. The core trio's augmented by fuller horns on most numbers, given a bit of an Earth Wind & Fire/Kalimba Productions groove – and there's a vocal chorus at a few points too. Includes a great version of "Close Your Eyes & Remember" – plus "Sassy Stew", "Callin Fallin", "Baby What You Want Me To Do", "You Never Know", "Lynn", and a "Hits Medley" of Lewis grooves from the 60s. CD

Two unusual Herbie Mann albums – back to back in a single set! The first Reggae album has a surprisingly strong mix of 70s modes – as the funky flute of Herbie Mann takes on some of the nascent reggae grooves of the time – with results that are a lot nicer than you might expect! There's some core rhythms on the record from Tommy McCook, but Herbie's regular keyboardist Pat Rebillot also adds in some surprisingly nice lines too – making the whole thing way more than just another session cut down in Kingston. One real surprise is a very extended take on "My Girl", which runs for over 18 minutes and takes up all of side two – and other cuts include "Rivers Of Babylon", "Swinging Shepherd Blues", and "Ob La Di". Reggae II is a lesser-known follow-up to Herbie Mann's first album of reggae-styled instrumental grooves – and one that's every bit as sweet as the first! Like that record, the approach here is one that has Mann working with Kingston-bred rhythms from a lineup that includes Winston Wright on organ, Jackie Jackson bass, and Michael Richard on drums – mixed with tenor from Tommy McCook and trumpet from Bobby Ellis – then given a slight fusion vibe from Mann's frequent 70s musical partner Pat Rebillot on a variety of keyboards! Herbie's flute snakes into the groove in this warm, easygoing way – very open in tone, and a surprisingly good fit for an instrument that isn't often used in such a setting. Titles include "Down On The Corner", "Cecilia", "I Know", "Stoned By You", "Bend Down Low", and "So Get It While You Can". CD

A pretty great idea for a late 60s rock record – even if the record itself is even better than its idea! The whole concept of the "masked marauders" was that the group was supposedly formed by big rockers of the time – unable to be listed on the cover, because of contractual obligations. And in truth, the set does sound a lot like it could have been lifted from sessions by The Rolling Stones, or Get Back-era Beatles – plus maybe a few other contemporaries too – yet it's all actually the work of some great unknowns, who came up with a sweet gimmick to get the record out there! On its own, the set's a real charmer – and has a mix of rootsy modes and tighter, deeper ideas that's not unlike some of the George Harrison/Phil Spector work – save for those moments when the Marauders are clearly trying to sound a bit more like a big name act. Titles include "I Can't Get No Nookie", "Cow Pie", "Duke Of Earl", "I Am The Japanese Sandman", "Later", "More Or Less Hudson's Bay Again", and "Season Of The Witch". Also features two mono single tracks – "Cow Pie" and "I Can't Get No Nookie". CD

Melanie's a folkie at heart, but one who's very open to new ideas too – as you'll hear in this surprisingly offbeat set from the late 60s! The record mixes Melanie's raspy, almost eerie vocal approach with some compelling charts from Roger Kellaway – who respects the folk impulses at the core, but also brings in some unusual inflections in the other instrumentation – that post-folk approach that was showing up in records by Leonard Cohen and others of the singer/songwriter generation. The difference is subtle, but very striking – and very different than the way the set would have been recorded a few years previously. Titles include "Christopher Robin", co-written with AA Milne – plus "In The Hour", "I'm Back In Town", "Bobo's Party", "Close To It All", "Merry Christmas", and "I Really Loved Harold". CD

A great period in the career of Doug Sahm – early 70s recordings for Atlantic that have Sahm tightening things up and really refining the sound of the Sir Douglas Quintet – yet still holding onto that fantastic charm that easily makes him one of the most unique talents of his time! Doug's a bit more firmly in the lead on these sides – singing, playing piano, and a fair bit of guitar as well – and the players on the sessions are often an all-star lineup – with guests who include Bob Dylan on guitar, Dr John on organ, Barry Goldberg on piano, David Bromberg on dobro, and Jerry Garcia on pedal steel. 2CD set features the full albums Doug Sahm & Band and Texas Tornado – plus lots of bonus singles and alternates too. 42 tracks in all – with titles that include "It's Gonna Be Easy", "Me & Paul", "Don't Turn Around", "Columbus Stockade", "Texas Tornado", "Chicano", "Someday", "Blue Horizon", and "Your Friends". CD

The complete Warner Brothers recordings of Sly Stone – and a much-needed look at an oft-ignored side of his career! The set features the full tracks from the albums Back On The Right Track and Ain't But The One Way – as well as 5 previously unissued demos, which have a rough and ready feel that almost makes them the best of the bunch! The work on the albums is surprisingly great – not classic early Sly, but with this warmly compressed groove that extends his sound nicely – and which has a really great mainstream funk appeal. Sly's using the studio as an instrument more than ever before – getting some great sounds out of the way he brings the vocals, drums, and guitars all together in the mix – and reinventing himself a bit, without losing his groove. Titles include "The Same Thing (Makes You Laugh, Makes You Cry)", "Shine It On", "It Takes All Kinds", "Who's To Say", "Sheer Energy", "LOVINU", "One Way", "High, Y'All", "Ha Ha Hee Hee", "You Really Got Me", "Sylvester", "You're The One (inst demo)", "In Other Words (demo)", "Hand Of Love (demo)", and "Get Back (backing track takes 2 & 3)". CD

Two later Small Faces albums – back to back on a single set, with bonus tracks too! First up is Playmates – a late 70s gem from the revived version of the Small Faces – a group who seem to have gone through the same maturity and richer understanding of their roots as the Faces – but who come across here in an even more sophisticated way! Steve Marriott's at the helm – on guitar and vocals – and has this understated approach that's a great change from the early days – as if he's got nothing to prove, but is completely confident in his way of putting a tune over – which makes the slight twang of most of these numbers wonderfully charming, and surprisingly solid. Titles include "High & Happy", "Saylarvee", "Find It", "Lookin For A Love", "Playmates", "Never Too Late", and "Tonight". 78 In The Shade is from 1978, a year when the reborn Small Faces were still sounding plenty darn great! The album follows nicely from the previous Playmates – with the strong rootsy undercurrents as that one, way more than in the group's earlier music – produced tightly, but still at a level that's free from commercial fluff or any too-easy attempts at a hit. Steve Marriott's presence in the lead is great – the the overall presentation is surprisingly free of hoke, and the album falls somewhere in the territory of the best solo material by Ronnie Laine, Rod Stewart, or Ron Wood. Titles include "Over Too Soon", "Brown Man Do", "Real Sour", "Filthy Rich", "Stand By Me", and "Let Me Down Gently". CD features the bonus tracks "Kayoed By Luv" and "Hungry & Looking". CD

A treasure trove of unreleased material from the Stalk Forrest Group – one full album, other bonus tracks, and their only ever single – all compiled together in a sweet set that documents the pre-history of Blue Oyster Cult! These guys aren't as sinister as in their BOC years, but definitely have a great way with a guitar line – spinning things out in a sweet, compressed mode that really brings a tightness to the tunes – yet still respects some of the rootsier undercurrents. Vocals have a bit more twang than later, but in a catchy late 60s way – and the original songs on the album – mostly by Richard Meltzer and Allen Lanier – are all pretty great. Titles include "What Is Quicksand", "Gil Blanco County", "Donovan's Monkey", "Ragamuffin Dumplin", "St Cecilia", "Arthur Comics", and "Curse Of The Hidden Mirrors" – plus some demo and original versions too, some from the time the group was named Oxaca. CD

The first album by 80s dancefloor soul diva Jenny Burton – a gleaming, synthesizer and computer grooves laden effort that may have aged pretty quickly after it's initial release – but sounds pretty sweet today and stands out for its embrace of both ultra modern electro soul sounds and chart ready hooks! Jenny's can really belt out the soulful vocals, and the sounds put together by producer/one man band John Robie bring in elements of early hip hop and synthy pop funk – with drum machines, Moogs, synthesizers, keys, and guitar. Titles include "Rock Steady", "Small Rewards", "Players", "You'll Never Come Again", "Remember What You Like", "All The Time/Time" and "Vena Cava". CD

Important 70s work from Don Cherry – one of the first albums to bring his overseas experiments to a larger US audience! The set builds nicely off of styles that Don forged earlier in France and Scandinavia – a freer style of music than his work with Ornette Coleman, and a richly organic groove that builds up strongly from the bottom, often with elements of world music settled in alongside the jazz – but there's also some funkier moments here too, a bit like the Brown Rice album, but looser overall! The groups on most numbers are relatively large and spiritual – almost like Alice Coltrane at times, but a bit more electric and funky at others – and players include Collin Walcott on sitar, Michael Brecker on saxes, Cliff Carter on keyboards, Lenny White and Tony Williams on drums, Lois Colin on harp, and Raphael Cruz on percussion. Cherry himself plays conch shells, bells, and flute in addition to his usual trumpet – and he even sings a bit on a few numbers, in a soulful, scatting sort of groove. Narada Michael Walden produced, and the whole set's got a very righteous feel – with tracks that include "Universal Mother", "Buddah's Blues", "Eagle Eye", "Mahakali", "Karmapa Chenno", "Surrender Rose", and "Journey Of Milarepa". CD

A seminal set in the rebirth of straight jazz in the early 80s – a wonderful record with a much warmer, more traditional feel than you'd expect from some of the players involved! Bassist Stanley Clarke and pianist Chick Corea really return to their roots here – Stanley with some of the bold acoustic tones of his earliest soul jazz years, Chick with those modern-yet-soulful piano lines he first brought to magical recordings of the 60s – including the Sweet Rain session with Stan Getz. Freddie Hubbard's also in the group – blowing wonderfully with that reborn sound of his early 80s years, still some of the best work he ever did – and the group also features Joe Henderson on tenor, always a treat, and Lenny White on drums, really keeping things focused. The set's a gem through and through – and titles include "L's Bop", "Happy Times", "Remember", "Guernica", "October Ballade", and "Why Wait". CD

A massive double-length live album from the Griffith Park project of Chick Corea and Stanley Clarke – one that expands wonderfully on the warmth and soul of their first studio album! Like that classic, this one features an all-acoustic lineup that has Corea on piano and Clarke on upright bass, both playing with a wonderful sense of imagination and creativity – in ways that are quite different than their better-known electric work of a few years before. Joe Henderson's tenor and Freddie Hubbard's trumpet are both great too – played with some sharp modern tones at a few points, but mostly in that flowing, soulful style that both players were hitting at the time. Lenny White's drums are light years away from his mid 70s fusion work – sharply focused, but always with a nod towards his mighty range of timings – and all players come together beautifully, with almost the same sort of blend of freedom and focus as the VSOP group. Tracks are all quite long, and titles include "Happy Times", "October Ballad", "Why Wait", "Guernica", and "I Mean You". CD

A classic set of spiritual fusion from this short-lived allstar group Compost – featuring Harold Vick, Bob Moses, Jumma Santos, and Jack DeJohnette! Vick's at his moody soulful best here, in a mode that's similar to his Strata East work – and the record also features occasional vocals by Lou Courtney and Jeanne Lee. They hit a fairy feverish, funky jazz mode throughout, and every player is in incredible form here. Titles include "The Ripper", "Moonsong", "Changing Streams", "Mon Cherry Popsicool", "Compost Festival", "Life Is Round", and "Buzzard Feathers". CD

Early solo work by Jesse Ed Davis – two albums in a single set! The self-titled Jesse Ed Davis set is one of a few records as a leader ever issued by the guitarist – a player who worked on countless other albums by big names in the late 60s and early 70s – but who has a very special flavor on his own! Davis is maybe best remembered as an important native American musician on the scene at the time – but his work here stands strongly with that of some of his hipper contemporaries – such as Eric Clapton, Leon Russel, and Gram Parsons – all of whom make an appearance here! Titles include the completely sublime "Golden Sun Goddess", worth the price of the album alone – plus "Tulsa County", "Every Night Is Saturday Night", "Crazy Love", "Reno Street Incident", and "Washita Love Child". Ululu has Jesse working with a number of his famous friends – including Leon Russell and Mac (Dr John) Rebennack – both of whose work the album owes a lot to. Jesse's got a down-home approach to his work – and sings a set of original tunes, plus versions of tracks by Merle Haggard, Leon Russell, Levon Helm, and Taj Mahal – which should give you a good idea of his frame of reference. Titles include "White Line Fever", "My Captain", "Sue Me Sue You Blues", "Ululu", "Alcatraz", and "Strawberry Wine". CD

A wonderful package – four full albums by one of the most unique groups of their time! First up is These Things Too – the first Reprise album from Pearls Before Swine – a bit more straight ahead and folksy than their work for ESP – but in a really great way, one that lets you hear the best of Tom Rapp's amazing songs and vocals! The album follows in a tradition that includes Tim Buckley, Tim Hardin, Leonard Cohen, and Fred Neil – but it's also got a really unique style that's the unique province of Tom Rapp – the main force behind the group, and the voice on all of the tunes. Rapp's vision was quite unique for the time – not nearly as revolutionary or personally preoccupied – more sad at the fading world, and granted with a unique ability to paint any subject in shades of blue. Titles include "Wizard Of Is", "Frog In The Window", "Footnote", "Look Into Her Eyes", "These Things Too", and "Mon Amour". Use Of Ashes is an incredibly beautiful album from Pearls Before Swine – one that uses light orchestrations to create a baroquely folksy sort of feel – easily elevating the album past previous efforts, into classic territory we'd rank with the best from Nick Drake or Leonard Cohen! The whole album's great – with fragile and haunting songs from Tom Rapp, all supported by sparsely arranged instrumentation that includes harpsichord, flute, oboe, cello, and dobro. Genius throughout – and a clear inspiration for music still being made 30 years later – with classic tracks that include "The Jeweler", "Rocket Man", "Song About A Rose", "The Old Man", "When The War Began", and "From The Movie Of The Same Name". Next is Beautiful Lies You Could Live In – one of the most perfectly formed albums ever recorded by Tom Rapp's enigmatic group Pearls Before Swine – a record that does an incredible job of skirting between Rapp's earthy sense of the planet's passing, and his ambitions for larger forums of expression. The core group is lightly folksy – with strong use of acoustic guitar that goes far beyond any folk rock cliches – plus some additional arrangements that feature contributions from the team of Bob Dorough and Stu Scharf, who seem to have a habit of appearing on under-discovered gems like this one, and making them sound all that more hip! The whole thing's great – filled with beautiful songs that should have been as over-recorded as the best by Tim Hardin or Leonard Cohen – with titles that are even better, too! Tracks include "Snow Queen", "A Life", "Butterflies", "Simple Things", "Freedom", "She's Gone", and "Island Lady". Last up is City Of Gold – a return to folksier forms for Tom Rapp and Pearls Before Swine – working here in territory that's very different than some of the baroque light arrangements used on previous records. Rapp's emerging as a more confident singer/songwriter – recording in an almost Dylan-like setting, but with more of the irony of Leonard Cohen, and as always, working in a timeless idiom that's still beginning to be understood more than 30 years after its inception. Beautiful work throughout – as earthy as it is majestic – and with titles that include "My Father", "The Man", "Once Upon A Time", "City Of Gold", "Nancy", and "Wedding". CD

A record that's every bit as weird and wild as its cover – and the only album ever recorded by this overlooked band – a late 60s act who were hip enough to be on the lineup at Woodstock, even though they never seemed to crack the big time after that! Yet although Quill were left out of the film version of the concert, their music here is more than heady enough to live up to the famous company in which they traveled – certainly psych, but with some deeper currents on the guitar that almost verge into hard rock at times – at a level that makes us wonder where they might have gone had they hung on a bit longer! Titles include "Thumbnail Screwdriver", "The Tube Exuding", "BBY", "Yellow Butterfly", "Too Late", and "Shrieking Finally". CD

An 80s album by McCoy Tyner, but easily one of his most soulful sessions ever – thanks to help from Phyllis Hyman and a host of great guest stars! The sound's a bit more tightly arranged than some of Tyner's 70s sessions, but there's still plenty of fire here too – a bit of a Latin inspiration in the rhythms, really giving new focus to McCoy's post-Coltrane sense of searching spirituality! Hyman sings wonderfully on the album's classic "Love Surrounds Us Everywhere", a brilliant blend of jazz and soul that recalls mid 70s Norman Connors – and on the beautiful ballad "I'll Be Around". Other players here include Gary Bartz, Stanley Clarke, and Carlos Santana – who comes off surprisingly nicely in this setting. Tracks include "Love Surrounds Us Everywhere", "Hannibal", "I'll Be Around", "Senor Carlos", "In Search Of My Heart", and "Island Birdie". CD

One of Ruben Blades' key crossover efforts of the 80s – and an album that has him stepping far from the salsa ghetto of the 70s, into a much wider range of styles! Most of the lyrics here are in English – as on other Blades from the time – and although the instrumentation echoes some Latin styles, there's also a more contemporary pop approach going on too. The album includes some songwriting contributions from Lou Reed, Sting, and Elvis Costello – and titles include "Chameleons", "Shamed Into Love", "In Salvador", "The Calm Before The Storm", "The Miranda Syndrome", "Letters To The Vatican", "I Can't Say", and "The Hit". LP, Vinyl record album

An early 80s set from John Klemmer – an album that's indeed mostly solo saxophone genius – and it's pretty wondeful! The record does have some additional instrumentation and vocalese from Klemmer, and a vocal tune with Clint Holmes, but it's the sparest stuff here that's really the focus. Klemmer's best work for Elektra in the early 80s is excellent – with brilliant soloing and an echoey tone that's nothing short of hypnotic – and a number of such tunes are found here! Very nice stuff from a fertile period for Klemmer. Titles include "Humanesque", "All I Ever Wanted Was My Life", "The Deepest Need Of The Human Heart", "Finesse (The Art Of Loving)", "The Mystery Of Being", "The Rain Is The Tears Of My God For Me", "The Struggle To Be Free" and more. CD

A lean little set from Jimmy Smith's back to basics years of the early 80s – an album that's recorded in a relatively old school soul jazz mode! Jimmy's mostly playing Hammond here – but also uses a bit of Arp strings at times – and the rest of the group members include George Benson on guitar, Ron Carter on bass, Grady Tate on drums, and Stanley Turrentine on tenor sax – all playing in modes that are nicely laidback and open. There's a bit of 70s warmth to the production of the record, but little other in the way of modern touches – and in a way, the record almost takes us back to the sound of Jimmy during his very last years at Verve, when he'd mostly returned to small combo work. Titles include "MASH", "I'll Drink To That", "Off The Top", "Endless Love", "Mimosa Love", and "Ain't Misbehavin" – plus a few words spoken by Jimmy at the end! CD

Drummer Lenny White was one of the strongest talents on the kit to emerge during the 70s fusion years – a player who was every bit as tight and powerful as Billy Cobham, and maybe even more far-reaching in his style – as you might guess from the cosmic image on the cover! The album's got more than enough propulsion to soar to the skies – with White on massive drums – working with a killer batch of musicians that includes Patrick Gleason on keyboards and electronics, Onaje Allan Gumbs on acoustic and electric piano, Jimmy Smith and Larry Young on organ, Larry Coryell and Doug Rodriguez on guitars, and Tom Harrell on flugelhorn – all working together in a razor-sharp mix of acoustic and electric elements! Titles include "Mating Drive", "Venusian Summer", "Chicken Fried Steak", and "Prince Of The Sea". CD

A great portrait of an under-recorded artist – Joe Albany's last album ever, recorded for Elektra records during their early 80s run of straight jazz sides! The record's got a spare, personal quality that's similar to Albany's other late work – but it's a bit more professionally put together too – not slick or commercial, but recorded quite thoughtfully, with clearly a lot of care in getting all of Joe's charms through on the record. There's a tentativeness to his keyboard work that's great – a sort of hesitation, then quick move forward with surprising grace – balancing beautifully in ways that warm us to his music even more than before. Other players include Al Gafa on guitar, George Duvivier on bass, and Charlie Persip on drums – but the record really has a main focus on Albany's piano lines. Titles include "Ruby My Dear", "Guess I'll Hang My Tears Out To Dry", "Autumn In New York", "They Say It's Wonderful", "For The Little Guy", and "Too Late Now". CD

An early 80s look at Latin jazz from David Amram – with a who's who of Latin jazz players and stellar jazz musicians of other realms – including Paquito D'Riveria, Candido, Machito & Machito Jr, Brazilian percussion guru Duduca Fonseca, David Fathead Newman, Jimmy Knepper, Pepper Adams and others others! What could have come out as clinical or academic comes through with passion and affection, partly because Amram could get such incredible players on the record, but mostly because the multi-instrumentalist ring leader is genuinely celebrating the music rather than simply replicating it. Includes "En Memoria De Chano Pozo, "New York Charanga", "Brazilian Memories", "Celebration", "Song Of The Rainforest" and more. CD

A lost fusion classic from the early 70s – one of the only records cut under the leadership of drummer Horacee Arnold, but a heck of a great little set with a soaringly righteous sound! The style here is plenty full-on, but a bit less rock-leaning than some of the other Columbia fusion of the period – thanks to a spacious vision on Arnold's part, and the inclusion of a fair bit of sounds from world music. Players on the set include Art Webb on flute, Sonny Fortune on soprano sax, John Abercrombie on guitar, David Friedman on vibes and marimba, Dom Um Romao on percussion, and Jan Hammer on moog and electric piano – and although there's a fair bit of guitar in the mix, the other acoustic elements are kept nice and high too – for a blend that's almost like some of the best Brazilian fusion from later years, touched by a slightly funkier sound! Tracks really stretch out nicely, allowing for plenty of solo space as they roll on, in a way that's almost a cross between Strata East and some of the more familiar mainstream fusion modes of the time. Very hip stuff, with titles that include "Benzele Windows", "Tales Of The Exonerated Flea", "Euroaquilo Silence", "Puppet Of The Seasons", "Sing Night Jar", and "Delicate Evasions". CD

Two early albums from Bread – back to back on a single CD! First up is the landmark first album by Bread – a set that came from the hipper depths of the Elektra Records label at the time, and which helped set the scene for so may 70s copycat acts to come! Here, the young David Gates is working in a style that's post-folk, with some of the same Sunshine Pop-era harmonies as some of his contemporaries – nicely blending his voice with James Griffin of the group, in a way that really forges past some of the more familiar modes that harmony vocals were hitting just a few years before – the same sort of extrapolations that were being explored at the time by The Carpenters or Crosby Stills & Nash – even though fans of the latter would kill us for such a comparison! Titles include "Dismal Day", "Move Over", "Family Doctor", "Could I", "Any Way You Want Me", and "Friends & Lovers". On The Waters is the second classic album from Bread – a set that has the group expanding to a quartet, and the mighty David Gates moving into an even greater role as a musical visionary for the 70s! Sure, these guys weren't about to storm the stage of Woodstock with music like this – but they are crafting some pretty wonderful harmonies for the time – music that marks a similar shift away from simpler 60s modes as the work of groups like CS&N or America – deeper, more mature, and able to bring in a more personal level of expression that harmony groups could only have dreamed of the decade before! Production is impeccable – almost in the same sublime soft rock territory as A&M at the time – and titles include the huge hit "Make It With You", plus "Easy Love", "Been Too Long On The Road", "Look What You've Done", "The Other Side Of Life", and "Call On Me". CD

Soft rock classics back to back – two full albums from Bread on a single CD! First up is Manna – a record that seems to have Bread picking up a bit more force than previous albums – coming on with a few vocal tracks that maybe seem to answer their growing soft rock status with a bit less emphasis on the "soft"! Yet that core Bread charm is still very much in place here – perfect David Gates arrangement and production, with all the sorts of mellow 70s touches that would be such a huge influence on so many others in years to come! One of the biggest illustrations of this is the mega-hit "If" – one of Gates' real classics, and done here with softly crooning vocals next to some slightly spaced-out guitar that gives the whole thing a surprisingly moody vibe. Other cuts include "Live In Your Love", "Let Your Love Go", "Be Kind To Me", "He's A Good Lad", "She Was My Lady", and "Truckin" – the last of which is not the Grateful Dead song. Lost Without Your Love is the last album in the legendary 70s run of Bread – and a set that was a bit of a comeback, given that the group had briefly disbanded before it was recorded! Yet as before, the mighty David Gates is still at the helm of the ship – penning loads of great songs alongside James Griffin, the group's other vocalist and songwriter – and giving the whole thing his classic touch in the studio, in ways that show a bit of an ear for some of the changes that were taking place in adult contemporary music in the years since the group had been started – maybe a bit more subtle drama, and a few less folksy elements than before. All the best Bread elements are still very strongly in place – and titles include "Change Of Heart", "Hooked On You", "She's The Only One", "Lost Without Your Love", "Fly Away", "Belonging", "The Chosen One", "Hold Tight", and "Today's The First Day". CD

A prime pair of late 70s classics on Atlantic Records from Brides Of Funkenstein – a funky female group from the P-Funk empire – back-to-back with bonus tracks! The Brides are one of George Clinton's few girl-based projects of the 70s, and a group who are markedly more funk-based than Parlet! Vocals are by the duo of Lyn Mabry and Dawn Silva – but the main sound of the set comes from the tightly crafted rhythms served up by a cast of well-known P-Funk regulars – all hitting a spaciously snapping vibe that reminds us a lot of the best energy of late 70s Parliament albums on Casablanca! The tracks on Funk Or Walk, which is on Disc 1 here, are longish, but nicely focused – with less of the disco that you might expect, and more of a slow-stepping groove overall! Titles include "Disco To Go", "War Ship To Touchante", "Just Like You", "When You're Gone", "Amorous", "Nappy", and "Birdie". 2 bonus tracks: single mixes of "Amorous" and "War Ship Touchante". Never Buy Texas From A Cowboy is tremendously soulful session – with plenty of funky Clinton touches in the mix – including rumbling basslines, raspy guitars, and a tightly focused groove that has the singers working equally with the larger group of musicians on the record. Production is by Bootsy Collins and Clinton, with horn arrangements by Fred Wesley – which makes for some great Horny Horns funk touches on most tracks! The title cut – "Never Buy Texas From A Cowboy" – runs on as a long P-Funk groove for about 15 minutes, but other tracks are shorter, and titles include "I'm Holding You Responsible", "Smoke Signals", "Party Up In Here", and "Didn't Mean To Fall In Love". The 2 Part single version of the title track is here as a bonus track. CD

One of those landmark meetings of mighty talents that sounds even better on record than it does on paper – as the set somehow finds this really special space that's completely between all the best early 70s modes of both Terry Riley and John Cale! Cale was really coming into his own at the time as a solo act – creating amazing records after leaving the Velvet Underground, but also still tied to the deeper art scene from which he emerged. Riley was on the way to becoming one of the most popular of the more modern composers – thanks to a nod from The Who, and a big audience for his wonderfully trippy records on Columbia. The label allowed the pair to create this really special music here – sounds that borrow from Riley's minimalism, while also having some of the darkness of Cale's own compositions – and coming across with this jagged, almost modal sort of approach that's really great. Cale only sings on one song, and the rest of the set is instrumental – as Riley plays piano, organ, and soprano sax – and Cale joins in on bass, guitar, viola, and harpsichord. The two of them groove together in these totally cool tracks that build and build, with minimal lines repeating over and over in endlessly fascinating groove – in a way that touches on a weirdly funky mode! The cut "Ides Of March" has the potential to be dancefloor groover in the jazz dance scene, and there's lots of other great tracks like "Church of Anthrax", "The Protege", and "The Hall of Mirrors at the Palace of Versailles". CD

Jimmy Cliff at the height of his 70s powers – in a mode that really moves past straight reggae, but without losing his roots at all – almost a more universal sense of soul that really fits the rising star power of Jimmy! The vibe here is different than some of the more righteous artists rising in the reggae spotlight at the time – still with political currents, but equally personal too – as Cliff sings with the voice of one man negotiating the challenges of life, and coming out wiser in the process. Ernest Ranglin handles lead guitar on the set – with plenty of other great studio Kingston musicians – and tiles include "Meeting In Afrika", "You Left Me Standing By The Door", "Stand Up & Fight Back", "Bongo Man", "Universal Love", "Love I Need", "Wanted Man", and "Lonely Streets". CD

Full-on fusion from the great Billy Cobham – a set that has the drummer working at his most pyrotechnic, with amazing action on the kit that just about none of his contemporaries could ever hope to touch! Some moments have Cobham really taking off into the skies, right from the start of a track – but other moments are nicely spaced out, creating that sense of balance that's always made these late 70s Atlantic albums such standouts – not just in Billy's career, but in jazz fusion in general. John Scofield plays guitar throughout, and the record's got some great keyboards from Dawilli Gonga too – on titles that include "29", "Life & Times", "Siesta", "Earthlings", and "Song For A Friend". CD

A strange bit of country soul – but a great one, and unique gem from Don Crawford! Another Shade Of Black was recorded by Don Crawford in New York, with bit of a crossover folksy feel that's more like work you'd hear from Muscle Shoals, but it's in a slightly more experimental mode. The album's got Crawford on vocals and acoustic guitar, and instrumentation includes a string quartet, banjo, dulcimer, and a bit of organ. Titles include "Keep Yourself Together", "Song For Sister Angela", "For All The Ladies", "If It Feels Good – Do It", and "Goofin Away The Day". CD

A really really wonderful little record – one that's far more than you might guess from it's slightly gimmicky title! The session's clearly done in a mode to resonate with the Charlie Byrd or Stan Getz bossa work of the early 60s, but it's also got a slightly offbeat quality that makes it really unique – a sound that partly comes from the use of three guitars by three relatively different players, and from the way that the tunes themselves are put together. There's almost a jam session feel at times here – with the guitars coming together in a tension of different voices, hardly the sort of thing you'd hear in a regular bossa album. But equally great is the tenor sax work of Bob Enevoldsen – which comes in with a sharper edge and a bit more soul than his 50s sides – creating a deeper quality to the tunes that's really great. Percussion is by a trio that includes Milt Holland, Bob Neel, and Chico Guerrero – and Donn Trenner plays piano and Bob Bertaux is on bass. Titles include "I Told Ya I Love Ya Now Get Out", "Sweet Dreams", "Bossa Nova #2", "Bossa Nova Samba", and "Leave It To Me". CD

Fatback flying like the Phoenix – but hardly rising from the ashes, given that the group's always on top! The sound here is a bit different – slightly leaner than before, but in a good way – with lots of core keyboards from Bill Curtis, who also handles most of the lead vocals – although as with most Fatback sets, there's plenty of sharing on that front with the rest of the group members – a bit of harmony here, a switched lead there – all keeping things nice and fresh! And this time around, there almost seems to be more of a focus on the mellower cuts, which we like a lot – because we've always enjoyed the more laidback numbers tucked in amidst the group's funkier sets – so this album's a real treat, with plenty of mellow and midtempo groovers. Titles include "The Drum Song", "Lover Man", "Call Out My Name", "You've Got That Magic", "Big Brother", "Jump Up Baby Jump Up", and "I Love You So". CD

A groovy little move for Five Special – a set that still has the best funkier touches of their previous album, but which also brings in some more electro elements as well! There's a wicked groove on the guitar here – at least on the more upbeat tracks – kind of a riffing edge that sets the tunes moving nicely, and which is underscored by some heavy basslines and keyboard bits too. Mellower cuts have a warmer feel, but one that's mighty nice too – that sweet balance that only a few groups of the era could pull off well – which makes for a nicely rounded album overall. Titles include "Your Body Heat", "You Can Do It", "Spread Love", "Just A Feeling", "Sexy Lady", "Now & Then", and "Love A Thon". CD

We love Sonny Fortune – because he always plays so great! Sonny started as more of an acoustic soul jazz player – but by the time of this session, he's working with a lot of electric backing, in a fusiony mode that should dampen his enthusiasm, but which only seems to spur him onto new heights! The group's got some killer keyboards from Larry Willis, tight guitar from Ray Gomez, and lots of Latin percussion touches that really make the grooves dance – but the real highlight is Sonny, whose tone and placement are impeccable, almost in the vein of Gary Bartz during his years with Larry Mizell, but perhaps a bit more soaring and searching. Titles include "Afortunado", "Georgiana", "Igbob's Shuffle", "Francisco" and "Come In Out Of The Rain". CD

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An overlooked later set from the great Richie Havens – a record from a time when Havens was really finding a great way to move his sound forward, even though the rest of the world wasn't always paying attention to his work! Those legendary vocals are still very much in place – and Richie's using a mixture of jazz, soul, and rock-inflected instrumentation to create the kind of unique side space that always marked his music – that kind of genre-defying quality that could open Havens up to a huge audience when the time was right, and also see records like this not get the exposure they deserved. The set features a great remake of the classic "Going Back To My Roots" by Lamont Dozier, two tunes by Jae Mason – titled "She Touched My Heart" and "Mama We're Gonna Dance" – and Havens versions of tunes that include "You Send Me", "Every Night", "Ol 55", and "Dreams". CD

Killer work from Freddie Hubbard – some key transitional sides for Atlantic Records, and easily some of his most soulful work ever! Freddie started out as a bopper on Blue Note, but then made a great shift at Atlantic – exploring space and sound in a really wonderful way, and opening up towards some of the killer modes you'd know from his classics on CTI. There's just a bit of electricity in the mix here, as most cuts are acoustic – but they already stretch out in some hip, spiritual styles that are really great. Titles include "For BP", "Lonely Soul", "High Blues Pressure", "Midnite Soul", "Black Soldier", Interlude I", "Echoes Of Blue", "Threnody For Sharon Tate Comment", "Spacetrack", "Leap Frog", "Up Jumped Spring", "Latina", and "On The Quee Tee". CD

Sweet electric funk from Robin Kenyatta – but a set with some slightly complicated moments too! The album's a bit like some of Yusef Lateef's more electric moments on Atlantic, although probably not as cerebral overall – and Robin plays a range of reeds, including alto, flute, and soprano sax – the last of which is the best fit for the record, as Kenyatta plays it with a nicely snakey sort of style! Most tracks have a strong mix of keyboards and guitar – the former played by either Larry Willis or Pat Rebillot, the latter by David Spinoza or Keith Loving. Stanley Clarke plays bass on most of the set, and there's definitely some of his influence going on here too – and one track features added vocals by Robin and Lalome Wahsburn. Deodato arranged a version of "Last Tango In Paris" – and other titles include "Gypsy Man", "Melodie Chinoise", "Werewolf", "Another Freight Train", "Seems So Long", and "Reflective Silence". CD

One of the earliest albums as a leader from reedman Robin Kenyatta – and a set that's also one of his most compelling too! There's a definitely freer sound here than on some of Robin's smoother sets from the 70s – a vibe that's somewhere near the space of Impulse Records in the post-Coltrane years, and which is right at home on Atlantic's Vortex label subsidiary. A few tracks get surprisingly out, but always with a nice sense of focus, especially in the rhythms – and in addition to Kenyatta's own bold work on alto sax, the album features performances by Roswell Rudd on trombone, Mike Lawrence on trumpet, Walter Booker on bass, Fred Simmons on piano, and Horace Arnold on drums. The tunes have lots of sharp edges – almost Ayler-like at times, but more inside – and titles include "You Know How We Do", "Little Blue Devil", "This Year", and "Until". CD

A really cool album from saxophonist Bobby Keys – a record with no vocals at all, just Bobby's solos – but a set that's maybe better tagged as instrumental rock than jazz, given the heavyweight guest musicians in the lineup! Keys blows with an all-star array of talent from the rock scene of the time – including Jack Bruce and Felix Pappalardi on bass, Leslie West and Dave Mason on guitars, Nicky Hopkins on keyboards, and Ringo Starr on drums – plus a bit more guitar from George Harrison, too! Yet what's great about the record is that all these talents put aside their ego and follow Bobby's lead – in a groove that's maybe a bit southern soul, a bit down-home rock – with some definite currents of Memphis and Muscle Shoals in the music. Titles include "Crispy Duck", "Steal From A King", "Bootleg", "Smokefoot", "Altar Rock", "Command Performance", and "Sound & Foam". CD

A beautifully spacey set from guitarist Steve Khan – a record that has the leader playing mostly acoustic, but in a setting that's also got this nicely echoey vibe and some great electric touches! The record is as spacious as an ECM session, but has a very different vibe – maybe a quality that's less sonically organic, but equally powerful – as the steel strings of Khan's guitar have this raspy quality in the echo, and are matched with some contributions on other guitars from David Russell Young – and some very light electronics that shade in some of the background elements in a very gentle way. Titles include "In A Silent Way", "Peace", "Threesome", "Infant Eyes", and a long "Thelonious Monk Medley". CD

Smooth, clean-toned examples of early 80s modernity from John Klemmer – back to back on 1 CD! 1983's Finesse is a sleek little effort, with smooth linear blowing from Klemmer and some easy work on keys by Russel Ferrante. The group is filled out by Roy McCurdy on drums, Bob Magnusson and Steve Forman on percussion. Tracks include "Finesse", "Man & Woman", "Sometimes", "Heart", "Sun, Moon And The Stars", "Beloved" and more! The same members back Klemmer on 1980's Magnificent Madness, more of a fusiony effort, natch, given the recording date – with some spacial synths here and there and even some vocalising by John! Tracks include "Magnificent Madness", "Don't Take Your Love Away", "Deja Vu", "Lifesong", "Adventure In Paradise" and more! CD

Sly and subtle soul from saxophonist John Klemmer – a set that's somewhat smooth, but still filled with a great deal of feeling – and just the right blend of Klemmer's earlier searching style with some of the more soul-inspired modes of his later years. Klemmer plays tenor, soprano sax, and flute on the album – and often uses a bit of echoplex to space out his sound nicely – creating these long, drifting lines that really sound great! The record's got a subtle blend of jazz and soul influences, all tinged with a slightly spiritual undercurrent – as you might find on the best late 70s work from Norman Connors. Players include Larry Carlton and Lee Ritenour on guitar, Russell Ferrante on piano and electric piano, Steve Schaeffer and Harvey Mason on drums, and Ray Armando on percussion. Clint Holmes and Phyllis St James both sing a bit on the set – again in sweetly subtle ways that never sound too commercial – and overall, given the date of the record, the album's a really tremendous one – much more like some late 70s spiritual soul fusion outing than you might expect! Titles include "Hush", "Let's Make Love", "Life Is So Beautiful", "Magic", "Hot", "I Love You Madly", and "Feelin Free". CD

A real breakthrough in female soul for the 70s – the initial album from Labelle – a set that's very different material than the group were doing on their girl group singles in the 60s! The trio here is legendary – Patti Labelle, Nona Hendryx, and Sarah Dash – three tremendous singers all working together at a level that really sets the standard for bad-rapping female soul in the 70s! We're not sure what happened with Patti and the group between their 60s material and this set – but whatever it was, it was something great – a turn towards a style that would keep them in the record racks for years! Titles include "Too Many Days", "Running Out Of Fools", "When The Sun Comes Shining Through", "Heart Be Still", and a nice version of "Time & Love". CD

zAn incredibly lovely later album from Peggy Lee – her first album for Atlantic, and proof that she was still growing tremendously as an artist, well into the 70s! The record's title track was a tune written for Peggy by Paul McCartney, who also produced the number for the record – and it's got a wonderful "adult" feel – one that steps off even more from Peggy's last Capitol recordings. But in some way, the real star of the album is Dave Grusin – who co-produced the rest of the record along with Peggy, and who gives the session a warmly laidback jazz-based approach – one that's miles away from Peggy's 60s work, and handled in a maturely mellow groove that's totally great. The sound is tight, but never too slick – and Peggy's aging vocals sparkle beautifully amidst a host of modern tunes that include "He Is The One", "The Heart Is A Lonely Hunter", "You Make Me Feel Brand New", "Sweet Lov'liness", "Sweet Talk", "Always", and the funky classic "Easy Evil". CD features bonus tracks "The Nickel Ride", "Let's Keep Dancing", "I Wanna Be Seduced", "I Am His Lady", and "Let's Love (alt version)". CD

Herbie Man gets nitty and gritty at the Muscle Shoals Studios – bringing his funky flute to the southern powerhouse of sound, and hitting some of his most soulful grooves of the time! The approach here is really great – definitely cast in the southern soul mode that was associated with Muscle Shoals, but also done with the looseness of a jazz record – so that the sound's a fair bit different than similar projects coming out of the scene at the time. Most tracks are long and flowing – with lots of sweet electric elements that include vibes from Roy Ayers, guitar from Eddie Hinton, and keyboards from Barry Beckett. Wayne Jackson and Andrew Love slide in on horns – but Herbie's flute is still the main solo element, and it gets plenty of space to stretch out with some great trippy grooves! Titles include Edwin Birdsong's "Can You Dig It?", plus Sonny Sharrock's "Blind Willy", and Herbie's own "Panama Red's Panama Hat" and "Claudia Pie". CD

A cool 70s album from the Modern Jazz Quartet – and one that has John Lewis playing a bit of electric piano, in addition to his usual acoustic keys! At some level, it almost feels like the group's working off the lessons learned during their Apple Records years – and are also picking up some elements of Milt Jackson's work on other projects in the late 60s – as the record has a soulful groove you might not normally expect from the MJQ, and less of the more academic tones that had marked some of their earlier 60s recordings for Atlantic. Tunes are really nicely focused, but still have that strong sense of space and sound that's the Lewis' hallmark – and Jackson's nicely-pointed vibes sound really great next to Lewis' keys, whether acoustic or electric. Titles include "The Legendary Profile", "Valeria", "Misty Roses", "The Martyr", and "What Now My Love". CD

Not the traditional Johnny Otis Show records you might know from Johnny's famous R&B years of the 50s – and instead a totally great record from the start of the 70s that's filled with funk, soul, and blues! The set really shows the way that Otis changed with the times – and the overall sound is a lot freakier and fuzzier than any of his earlier records – at a level that really draws a strong link to the solo work of Shuggie Otis – who was part of Johnny's ensemble at the time, and who makes some excellent appearances here! Some cuts have sweet Shuggie guitar lines – and vocals are by Delmar Evans, Don Sugarcane Harris, Margie Evans, and Johnny. The record contains two excellent funky 45 cuts – "Cuttin Up", an instrumental with choppy guitar, and "The Watts Breakaway", with good groovy vocals by Delmar. Other titles include "Mo Jo Woman", "Evil Gal Blues", "It's Good To Be Free", "Elim Stole My Baby", "You Can Depend On Me", and "Don't Stretch This Good Thing Too Far". All this, and the LP's got a nice Jack Davis (of MAD fame)cartoony cover of the band doing surgery on a kid that we assume is Shuggie. to boot! CD

Most folks associate Buck Owens with Capitol Records – the label that catapulted him to fame in the 60s – but after that initial run with the company, Owens recorded briefly for Warner Brothers in the mid 70s – with really great results that made for some mighty special music! That famous Owens voice is still in fantastic form – but given maybe a more mature direction on some of the material – maybe informed a bit by changes in country music that were being wrought by singers like Waylon Jennings or David Allen Coe – who seem to inspire Buck to take on a bit more honky tonk at times, and move away from more familiar Bakersfield modes. This great set brings together all the work that Owens did for the label – the albums Buck Em and Our Old Mansion – plus a fair bit of singles that he issued at the same time too. 41 tracks in all – with titles that include "Hollywood Waltz", "We're Gonna Build A Fire", "Child Support", "When I Need You", "Hangin In & Hangin On", "Love Is A Warm Cowboy", "How Come My Dog Don't Bark", "Texas Tornado", "He Don't Deserve You Anymore", "You're Gonna Need A Doctor", "Streets Of Bakersfield", and "When I Need You". CD

A pair of late 70s albums from electric jazz maestro Jean Luc Ponty – back to back in a single package! First up is Aurora – one of the hippest of Jean Luc Ponty's mainstream efforts from the 70s – a tightly jamming album that's made even better by plenty of keyboards from Patrice Rushen! Rushen's sound really brings a warmer, more soulful groove to the record – stretching out with flowing solos that remind us a lot of her own early work for Prestige, placed here as a nice contrast to the heavy guitar work of Darryl Stuermer and the sometimes-frenetic work on violin by Ponty. Tracks have a definite rock fusion approach, but still offer up enough jazzy moments – and titles include "Is Once Enough", "Renaissance", "Aurora (parts 1 & 2)", "Passenger Of The Dark", and "Lost Forest". Cosmic Messenger is an album that really lives up to its title – as the mighty Jean Luc Ponty mixes together keyboards and electric violin in a really cosmic style – pushing forward both his music and the sound of 70s fusion at the same time – and with the sort of rock-solid approach that always helped his records find a much bigger audience than standard jazz albums at the time! The violin was nothing new in jazz by the time of this set – but in the hands of Jean-Luc, it really takes off in a different way – more keyboard-styled in the structure of the riffs, balanced here with additional keyboards from Allan Zavod, next to more guitar, bass, and percussion – but always in a way that's never too rock-jamming overall. Titles include "Ethereal Mood", "Fake Paradise", "Puppets Dance", "Cosmic Messenger", "Art Of Happiness", and "Egocentric Molecules". CD

A surprisingly great one from Buddy – full of live, liveliness, and energy – but also coming across with a depth that goes beyond simple Rich big band sounds. The album was handled by producer Norman Schwartz, and looks like it was originally recorded for his Gryphon label, but probably moved to RCA at the last minute – and it's got a solid feel that's mostly got Buddy working in a straight big band mode – searing on solos with players that include Steve Marcus, Bob Mintzer, and Don Menza. The players contribute some really great tracks to the set that push a bit of a funky agenda – but never too much – just enough kick in the rhythm to make things soulful, and inspire the soloists accordingly! Titles include "Time Out", "Tales Of Rhonda Rat", "Ya Gotta Try", "Party Time", "Kong", and "No Jive". CD

An album with a cheesy sort of cover – one that almost looks like it's about to melt – and one that hides the great all-star talents within – a lineup that includes Alexis Corner on guitar, Jack Bruce on bass, and Charlie Watts on drums! Yet maybe even better than the non-rockers on the date – as the group also features tenor from Hal Singer and Don Weller, and piano from both Bob Hall and George Green – both of whom really smoke up the keys in a very old-school mode! Korner and Bruce each sing a bit on the set, but the main focus also seems to be in the mix of R&B and bluesy currents from all the instrumentalists – who also include Colin Smith on trumpet and John Picard on trombone. Titles include "Roadhouse Boogie", "Rocket 88", "Waiting For The Call", "St Louis Blues", and "Talking About Louise". CD

Brilliant work from Patrice Rushen – one of the records that not only helped break her out of the jazz funk ghetto, and right into the mainstream – but a set that also had a pretty profound influence on the progression of soul in the early 80s! Rushen sings as well as plays keyboards – and really pushes the use of jazzy elements that would take R&B to the next level – almost inventing the 80s groove sound in the process! The whole thing's a totally sweet mix of funk and soul, tightened up to get everything in the door at the same time – and titles include "Givin It Up Is Givin Up", "Call On Me", "Haven't You Heard", and "Let The Music Take Me". CD

Very rare, indeed – a late set from the legendary T Bone Walker, and one that brings in some great currents of soul, jazz, and funk that really help push his music forward! The album's maybe a bit like some of the funkier albums on Chess/Cadet at the same time – in that an older talent is able to really step forth with a fantastic new vibe for the 70s – as Walker works here under the direction of producers Lieber and Stoller – alongside an all-star lineup that features trumpet from Dizzy Gillespie, tenor from David Newman and Zoot Simms, flute from Herbie Mann, and even some backing vocals from The Sweet Inspirations! The lineup shifts from track to track, but the great James Booker is on most tracks, playing piano and Fender Rhodes – and almost adding as much to the record as Walker. Also, funky genius David Matthews handled all the arrangements, with that ear for soul that he first forged with James Brown – really bringing a lot to cuts that include "Striking On You, Baby", "The Last Clean Shirt", "The Come Back", "Hard Times", "Three Corn Patches", "I'm Still In Love With You", "If You Don't Come Back", "Well I Done Got Over It", and "Person To Person". CD

Sweet funky flute from Art Webb – an overlooked 70s jazz player who's probably best known for his Latin fusion work, but who really shines here in a more soul-based setting! This set shows Art working strongly in a mode that references that part of his career, yet also has him stepping into more of the mainstream of funky jazz, too – working with the rhythm section of John Lee and Gerry Brown, plus guitarists Reggie Lucas and Hiram Bullock, and keyboardists Mike Mandel and Hubert Eaves – both of whom make the record sparkle with a soulful fusion sound that's totally great! Arrangements are by Mike Gibbs and John Lee, and overall the album's got a very solid soulful sound. Titles include "Flute Magic", "Can't Hide Love", "Pyramids", "Love Eyes", "Free", and "Glass Dreams". CD

A great little album by Lenny White – nicely restrained in the best moments, with less of the heavy-hitting fusion sound that you'd hear on his other albums – and even done with a strong current of funk, which really sends the whole thing home in a great way! Space jazz maestro Pat Gleeson produced the album with Lenny – and also plays quite a bit of synth on the album – and we're convinced that it's Pat's subtler jazz talents that really make this one shine – those cool keyboards, and strong sense of balance that he brought to his own albums, and other productions of the time. Highlights include the spiritual soul number "Sweet Dreamer", with vocals by Linda Tillery and keyboards by Herbie Hancock – and the tight "Big City" groove, which features great contributions from both Brian Auger's Oblivion Express, and the Tower Of Power Horns. Other tracks include "The Ritual", "Rapid Transit", "And We Meet Again", "Enchanted Pool Suite", and "Ritmo Loco". CD

A fantastic bit of AOR – served up here by two musicians with a background in jazz, and a great way of harmonizing their vocals together! Larsen is Neil Larsen, who plays keyboards and sings – and Feiten is Buzz Feiten – guitarist and musical partner who helps make Neil sound even tighter and groovier here than on his solo records! The duo work with a core quintet, plus some added horn arrangements – in a style that's definitely in the hipper side of the AOR spectrum, which yields up plenty of rewarding listening all these many years later. CD

Classic grooving from Klaus Doldinger and his Passport group – stretched out fusion with just the right mixture of jamming energy and spacey soul! The sound here still has some nice rough edges – not as polished as later Passport work – an almost proggish influence on the keyboards at times, but a bit tighter at other moments. The core of the album is long snakey reed work from Klaus on tenor, flute, and soprano sax – plus keyboards played by himself and Hendrik Schaper. Tracks are somewhat spacey, but sometimes funky too – and titles include "Mandrake", "Sky Blue", "Ataraxia", "Loco Motive", "The Secret", and "Louisiana". CD