Results 81 - 89 of 89

12" / LP

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900.00 ฿

The Mar-Keys ‎– Memphis Experience

Review by Richie Unterberger
The Mar-Keys had a history of strange personnel changes; their previous LP (1969's Damifiknow!) had basically been Booker T. & the MG's-plus-horn section playing under the Mar-Keys name. Yet Memphis Experience was even stranger, demonstrating that the Mar-Keys at this point meant nothing more to Stax than a name that could be exploited. Three of the seven cuts were Bar-Kays outtakes that were scrapped when that band underwent one of its own numerous reorganizations. The rest of the album was recorded by an assortment of Memphis musicians. The result was serviceable period instrumental soul-funk, occasionally creeping into psychedelia (especially on the nine-minute "Cloud Nine," with several minutes of weird screams and whispers). It's an oddity in the Stax discography, related to the rest of the Mar-Keys' releases in name only, and not worth paying attention to unless you're determined to track down every available Stax recording. The album was combined with the 1969 Mar-Keys LP Damifiknow! onto a single-CD reissue in 1994.

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900.00 ฿

The Dramatics ‎– Joy Ride

Review by Craig Lytle
Joy Ride featured three singles, the first being the dance track "Finger Fever." Ron Banks and L.J. Reynolds co-lead this gritty number with its multi-directional arrangement. The single peaked at number 23 on the R&B charts. The second release was the classic "Be My Girl." Simultaneously released with Michael Henderson's version, the Detroit quintet is in superior form on this soulful number. In addition to being the author of the song, Henderson also produced the Dramatics' version, which peaked at number three on the R&B charts. The final release was the grieving ballad "I Can't Get Over." Reynolds gives a breathtaking performance with his explosive baritone. This single also made the Billboard R&B Top Ten at number nine. While side one is more dance-oriented with moderately paced compositions, side two is more ballad-seasoned with mellow numbers. The group's sleek lead and background vocals remain consistent on every track, and not having any obvious album fillers is also a plus.

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800.00 ฿

20th Century Steel Band ‎– Warm Heart Cold Steel

On it the band translated soul classics such as Shaft and Papa Was A Rolling Stone to the steel drums, often extending the tunes into laidback jams that are a pleasure to listen to.

This could’ve sunk without a trace but the set’s Heaven And Hell, heavily sampled by the likes of Jennifer Lopez, Black Eyed Peas and LL Cool J, has helped keep the name alive. A welcome reissue.

(Mr Bongo)

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800.00 ฿

Various ‎– Jazz Is Alive And Well On CTI And KUDU

Produced by Creed Taylor
Featuring Hank Crawford, Deodato, Hubert Laws, Stanley Turrentine, Freddie Hubbard, Esther Phillips, Johnny Hammond, George Benson and Grover Washington, Jr.

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1,000.00 ฿

Stan Clarke‎– Children Of Forever

Stanley Clarke's debut solo effort was issued when he was already a seasoned jazz veteran, and a member of Chick Corea's Return to Forever, which at the time of this recording also included Joe Farrell on soprano sax and flute, and the Brazilian team of vocalist Flora Purim and drummer/percussionist Airto Moreira. Produced by Corea, who plays Rhodes, clavinet, and acoustic piano on Children of Forever, the band included flutist Art Webb, then-new RtF drummer Lenny White, guitarist Pat Martino, and a vocal pairing between the inimitable Andy Bey and Dee Dee Bridgewater on three of the five cuts -- Bey appears on four. Clarke plays both electric and acoustic bass on the set; and while it would be easy to simply look at this recording as an early fusion date, that would be a tragic mistake. If anything, Children of Forever is a true cousin to Norman Connors' classic Dance of Magic and Dark of Light albums, which were also released in 1973; Clarke played bass on both. This is basically funky, spiritual jazz in the best sense. Yes, jazz. That wonderfully mercurial, indefinable force that brings into itself the whole of music, from popular to classical and folk forms, and makes something new out of them. The long title track with its killer vocal interplay between Bridgewater and Bey is seductive from the jump. Add Clarke's big fat bassline, which is mellow and meaty at the beginning, but after the long piano and guitar breaks in the middle becomes dirty, fuzzy, and spacy by the end as the cut leans into souled-out funk.

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1,200.00 ฿

Max Roach ‎– Drums Unlimited

Review by Scott Yanow
Other than a trio set with the legendary pianist Hasaan Ibn Ali, this set was Max Roach's only recording as a leader during 1963-67. Three of the six numbers ("Nommo," "St. Louis Blues" and "In the Red") find Roach heading a group that includes trumpeter Freddie Hubbard, altoist James Spaulding, pianist Ronnie Mathews, bassist Jymie Merritt and, on "St. Louis Blues," Roland Alexander on soprano. Their music is essentially advanced hard-bop with a generous amount of space taken up by Roach's drum solos. The other three selections ("The Drum Also Waltzes," "Drums Unlimited" and "For Big Sid") are unaccompanied features for Max Roach and because of the melodic and logically-planned nature of his improvisations, they continually hold on to one's attention.

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1,000.00 ฿

Herbie Hancock ‎– Man-Child

Perhaps the funkiest album of Herbie Hancock's early- to mid-'70s jazz/funk/fusion era, Man-Child starts off with the unforgettable "Hang Up Your Hang Ups," and the beat just keeps coming until the album's end. "Sun Touch" and "Bubbles" are slower, but funky nonetheless. Hancock is the star on his arsenal of keyboards, but guitarist Wah Wah Watson's presence is what puts a new sheen on this recording, distinguishing it from its predecessors, Head Hunters and Thrust. Others among the all-star cast of soloists and accompanists include Wayne Shorter on soprano sax, Stevie Wonder on chromatic harmonica, and longtime Hancock cohort Bennie Maupin on an arsenal of woodwinds.

Review by Jim Newsom

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1,200.00 ฿

Norman Connors ‎– Dark Of Light

This is in the stone groove of earlier Connors delights -- New York club music, the nexus where disco and jazz collided and gave birth to a brassy sort of funk. Players abound here: Herbie Hancock, Cecil McBee, Gary Bartz, and Stanley Clarke, to name but a few. Soon after this, Connors had some hits and started making records he figured his "public" wanted to hear.
Review by Rob Ferrier

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800.00 ฿

Booker T. Jones / Booker T. And The M.G.'s ‎– Up Tight (Music From The Score Of The Motion Picture)

Review by Steve Kurutz
Through the score of Booker T. Jones, the soundtrack to the 1968 Jules Dassin movie Uptight reflects the story of a young black man living in the ghetto during the turbulent time after the assassination of Martin Luther King, Jr. Containing the hit single "Time Is Tight," the soundtrack moves from soft and contemplative ("Children, Don't Get Weary") to driving and urgent ("Run Tank Run"). Though not one of Booker T. & the MG's' better albums, Uptight does contain the always exemplary musicianship that the MG's brought to their records, and it predates both the Superfly and Shaft soundtracks by three years.

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1,400.00 ฿

Bernard Wright ‎– 'Nard

Like Tom Browne and Lenny White/Twennynine, Bernard Wright was part of Jamaica, Queens' R&B/funk scene of the late 1970s and early 1980s, which gave us such major hits as Twennynine's "Peanut Butter" and Browne's "Funkin' for Jamaica." Browne and White were both talented jazz musicians, but R&B/funk was their main focus at that time. Similarly, keyboardist/pianist Wright occasionally flirts with instrumental jazz on his debut album, 'Nard, but pays a lot more attention to vocal-oriented soul and funk. The only instrumentals on this out-of-print LP are the jazz-funk smoker "Firebolt Hustle," the Rodney Franklin-ish "Bread Sandwiches," and a relaxed interpretation of Miles Davis' "Solar," which finds Wright forming an acoustic piano trio with bassist Buster Williams and drummer Roy Haynes. Otherwise, this is an R&B album that is defined by such impressive funk as "Spinnin'," "Master Rocker," and the goofy but wildly infectious "Haboglabotribin'." Recorded when the keyboardist/pianist was only 16, 'Nard was expected to be a big hit, but surprisingly, didn't fare as well as albums by Browne and White.
Review by Alex Henderson

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1,200.00 ฿

King Jammys Dancehall 2: Digital Roots & Hard Dancehall 1984-1991

Dub Store Records’ compilation series mainly focuses on bringing together the very best heavyweight dancehall tunes from Jammys released during the digital phase of reggae music. “King Jammy’s Dancehall Part 2”, subtitled “Digital Roots & Hard Dancehall 1984-1991” contains fifteen serieus cuts from vocalists and deejays as well as five dub versions.

Just like Part 1, this second compilation gets started with the Crownprince of Reggae, Dennis Brown. The 1985 released lovers lament “History” shows that he’s able to handle the digi riddim in a totally satisfying way. Another example is the sizzling “Tracks Of Life”, which comes across a heavy digital remake of the Studio One classic “Swing Easy”. Dennis Brown’s opener is followed by Cornell Campbell’s beautifully sung “Nothing Don’t Come Easy” from 1987, a real killer and one of the most popular and rare tunes among record collectors. Another digi killer is Admiral Tibet’s “Victim Of Babylon”, voiced over a jaunty riddim with s rough and tough bassline. Obviously the Wailing Souls didn’t record that much in the digital dancehall era, but almost everything they did for King Jammy was well worth hearing. The compatibility of their time-honed harmonies and hard digital instrumentation is very surprising as can be fully experienced when listening to their big tune “Move On”.

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1,000.00 ฿

Jimmy Radway & The Fe Me Time All Stars ‎– Dub I

Jimmy Radway’s anguished emotive early seventies productions on his Fe Me Time and Capricorn labels deserve to be as highly regarded as those of his contemporaries Niney and Bunny Lee. Thankfully, Pressure Sounds have selected him for re-evaluation with a reissue of his 1975 album Dub I. It’s a strong set of versions to his classic sides on these imprints by Leroy Smart, Errol Dunkley, Big Youth, Desmond Young and others including 5 bonus tracks.

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1,100.00 ฿

Leon Thomas ‎– Gold Sunrise On Magic Mountain

Even before his tenure with Pharoah Sanders, Santana and Archie Shepp, avant garde jazz vocalist Leon Thomas was a force to be reckoned with. Recorded live on June 18, 1971 at the Montreaux Jazz Festival, this performance showcases Tomas's ability to wow and amaze.

Occupying a precarious position between jazz and the occult, Thomas's performance is both pithy and wild. This probably has to do with the environment it was recorded in. When Thomas sings, "It's five o'clock in the morning," he isn't just reciting the standard blues lyrics - it actually was five o'clock in the morning. Regardless, the audience that had been crowded into the smoke filled casino since eight the previous evening was still eager for more only to be stopped by festival officials who had to pull the plug.

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800.00 ฿

Benson & Farrell ‎– Benson & Farrell

This little-known CTI recording matches guitarist George Benson and Joe Farrell, a multi-reed player who mostly sticks to flute. Joined by a large rhythm section and sometimes two other flutists (including Eddie Daniels), Benson and Farrell play four originals by session arranger Dave Matthews, plus the standard "Old Devil Moon." This pleasing if not all that memorable instrumental date was recorded right after Benson's Breezin' (and before its release), ending the guitarist's CTI period right before he became a vocal star.
Review by Scott Yanow

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1,300.00 ฿

Freda Payne ‎– Reaching Out

Beautiful and powerful soul album by Freda Payne.
A good listen all the way through.
Kind of an essential Classic.

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1,400.00 ฿

Carrie Cleveland ‎– Looking Up

"Privately arranged, recorded and produced by Carrie and her husband Bill as a labour of love in their backyard studio in 1978, 'Looking Up' is one of the most in-demand soul/disco LPs in existence, sought-after in particular for their track 'Love Will Set You Free'.

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1,300.00 ฿

Tower Of Power ‎– East Bay Grease

The first Tower of Power album, when the band was only honing its concept and seeking a lead singer. On some songs, notably "Sparkling in the Sand," you can hear the group beginning to come together. They already had a fine horn section, and were only some good arrangements away from becoming one of the best pop and soul bands in the nation. The vocals were uneven, although Rick Stevens would later emerge as the prime vocalist. Despite its flaws, it's worth having because the diamond was being cut on these selections.
Review by Ron Wynn

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1,000.00 ฿

Ahmed Abdul-Malik ‎– East Meets West: Musique Of Ahmed Abdul-Malik

Ahmed Abdul-Malik ‎– East Meets West: Musique Of Ahmed Abdul-Malik
All songs are the bomb, but check out "Mahawara" in particular.
Jazz mixed with Middle Eastern instruments.

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900.00 ฿

McCoy Tyner ‎– Echoes Of A Friend

McCoy Tyner dedicated this 1972 recording of piano solos to John Coltrane. Five tunes, two by Coltrane, two by Tyner, and Rodgers & Hammerstein's "My Favorite Things," comprise the album.


On Coltrane's "Naima," Tyner enters softly in the upper register. After some orchestral piano strumming, he brings the listener into the melody. Then, using a chord as a launching pad, he takes off into a virtuoso right-hand piano break. Coming back into the melody, he uses the piano like a harp. "Promise," another Coltrane tune, starts with a Keith Jarrett-like groove, but quickly enters full-fledged McCoy Tyner territory. Sweeping into some low-register rumbling, the tune is stated in its simplest form and it's over. The 17-minute "The Discovery" starts with a gong, and immediately descends into a sweeping sonic torrent. After an outbreak of pianistic rage, there is a beautiful Debussy-like moment, spontaneous and natural. This is emotional and unrestrained music, best enjoyed if you just give in to it. It's beautiful, and innocent.

Review by Rovi Staff

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