Jessie Mae Hemphill, Queen of the Guitar Boogie.

Wearing a trademark Stetson, with a tambourine strapped to her leg and a no messin' attitude, Jessie Mae Hemphill was an innovative performer of the driving, hypnotic North Mississippi hill country blues.

She was one of the few women making this raw and highly influential roots music, quite distinct from the popular but often clichéd "12-bar blues" format and the "delta blues". A respected colleague of luminaries such as R.L. Burnside, Junior Kimbrough, and Mississippi Fred McDowell, she was recognised internationally only in later life, achieving cult fame in Europe - and finally the United States - during the 1980s.

Jessie Mae Hemphill was born near Como into a Mississippi musical dynasty. Both her parents were accomplished multi-instrumentalists, and her grandfather Sid Hemphill was a blind fiddle player and string band leader, recorded by the musicologist and folklorist Alan Lomax in the 1940s.

From an early age, Jessie Mae become adept at playing the bass and snare drum in the rustic fife-and-drum bands then typical of the region. Encouraged to sing and play by her aunt Rosa Lee Hill, Jessie Mae Hemphill took up the guitar at around eight, developing a unique rhythmic style that reflected her early experience as a percussionist.

From the 1940s, she played in a fife-and-drum group with Napoleon Strickland, which for many years rivalled that of Othar Turner. She took her first steps as a professional musician at local dances in the Mississippi delta, Arkansas and Memphis. She moved to Memphis in the mid-1950s; there she played in blues bands and busked on Beale Street to supplement a meagre income from odd jobs, and also got to know the likes of B.B. King, Muddy Waters and Howlin' Wolf, the latter a key influence on her songwriting. Once, during a break at a venue where King was playing, Hemphill and two other women took over the stage to play, and got such an enthusiastic response that King's band were momentarily convinced that the proprietors had hired another band in their place for taking too long off.

Hemphill returned to Mississippi in the mid-1970s. She had already made her first (unreleased) recordings for the blues researcher George Mitchell in 1967 and the ethnomusicologist Dr David Evans in 1973, under the surname Brooks, from her marriage in 1941 to L.D. Brooks. When Evans founded the High Water label at what was then Memphis State University, he again recorded her, and released her first single, "Jessie's Boogie", in 1980.

The following year, her début album She-Wolf was licensed to the French label Vogue. It was only distributed in Western Europe but allowed Hemphill to launch an international career. During the next decade, she toured in Europe, Canada and across the US. Some of her songs appeared on the album Mississippi Blues Festival 1986, and she won the W.C. Handy Award for Best Traditional Female Blues Artist in 1987 and 1988, despite the fact that her first full-length US album Feelin' Good (High Water) did not appear until 1990 - this time winning the Handy Award for Best Acoustic Album in 1991.

She appeared in Robert Mugge's 1991 documentary film Deep Blues, but in 1993 a severe stroke ended her touring career, and thereafter she lived a quiet and impoverished life in Como and then Senatobia, still singing and playing tambourine in church. Although paralysed down her left-hand side, she made a final recording of gospel standards, Dare You To Do It Again (2004).

Olga Wilhelmine Mathus, co-founder of the Jessie Mae Hemphill Foundation, set up to help her and other struggling local artists, recalls Hemphill in her prime:

She was feisty and very much like a showman. She really was a pioneer for women, not just in blues, but in music, because she did it by herself. She was independent, she travelled all these places, she played all these clubs and juke joints and she really just paved the way, and there's a lot to be said for that. -Jon Lusk

Jessie Mae Hemphill, guitarist, percussionist and singer: born Como, Mississippi 18 October 1923; died Memphis, Tennessee 22 July 2006.

Feelin' Good was the first album Jessie Mae Hemphill released in the United States and it differs from its predecessor She-Wolf in that it captures her at her rawest. Half of the record features her supported only by a rhythm guitar and drums, while the other half has Hemphill wailing away at her guitar and percussion simultaneously. The result is hypnotic, mesmerizing record that successfully updates Delta blues, making the covers sound as fresh as the originals. -AllMusic Review by Thom Owens

Feelin' Good:
1. Feelin' Good 3:50
2. Go Back To Your Used To Be 3:36
3. Streamline Train 5:31
4. Baby, Please Don't Go 2:58
5. Tell Me You Love Me 2:41
6. Shake It, Baby 3:01
7. Shame On You 3:37
8. My Daddy's Blues 3:55
9. Brokenhearted Blues 2:52
10. Rolling And Tumbling 3:00
11. Eagle Bird 5:45
12. Cowgirl Blues 3:22
13. Merry Christmas, Pretty Baby 3:56
14. Lord, Help The Poor And Needy 2:48

Until a stroke sidelined her in 1993, Jessie Mae Hemphill may well have been the most accomplished and versatile of the North Mississippi folk-blues musicians who emerged in the early 1980s with a stripped down, primal version of jook blues that was (and is) at stylistic odds with most of the contemporary blues scene (not that Hemphill and company had suddenly started playing this way, just that the rest of the world finally caught up with it). Hemphill, whose grandfather was the legendary Sid Hemphill who recorded some pretty wild and wooly fife and drum-styled classics for Alan Lomax in 1942 and 1959, has a hands-on understanding of the various folk forms of her native hill country, and her soulful, vibrant music is a thing apart. Assembled by folklorist Dr. David Evans, Get Right Blues collects 15 previously unreleased recordings cut by Hemphill in 1979, 1984 and 1985, and the range of blues and spirituals presented here is impressive and inspiring. Part boogie, part folk-gospel revival, part history lesson, this collection doesn't contain a single lame track, and it's amazing that none of these have been released before, since everything here is a stunner. From the ramshackle "Streamline Train" (Hemphill's version of "Mystery Train") that opens the disc through a pair of raw, atmospheric diddley bow pieces ("Little Rooster Reel," "Get Right, Church") and a hushed solo take on Memphis Minnie's "Honey Bee," Hemphill brings a ragged, perfect sense of urgency and soul to everything she touches. Even now, unable to play guitar because of her stroke, Jessie Mae Hemphill can still stun a crowd with just her voice and a foot tambourine. She is indeed a national treasure, and Get Right Blues makes a wonderful introduction to this amazing musician. -AllMusic Review by Steve Leggett

Get Right Blues:
1. Streamline Train 5:07
2. Shake Your Booty (Shake It, Baby) 4:00
3. Go Back To Your Used To Be 3:30
4. Take Me Home With You, Baby 2:45
5. Baby, Please Don't Go 3:11
6. Lord, Help The Poor And Needy 2:24
7. Cowgirl Blues 3:28
8. Little Rooster Reel 2:59
9. He's A Mighty Good Leader 3:22
10. All Night Boogie (Jessie's Boogie) 2:40
11. Loving In The Moonlight 3:40
12. Get Right, Church 1:55
13. Jessie's Love Song (Tell Me You Love Me) 2:49
14. Honey Bee 5:31
15. Jesus Will Fix It For You 3:26

This compact disc reissue gathers up all the original tracks from Jessie Mae's 1980 debut album for the French Vogue label along with four remixed bonus tracks, all seeing their first domestic release. Recorded by folklorist Dr. David Evans (who also contributes second guitar on 13 of the 15 tracks here) in various locales around Memphis and Mississippi, the music stays down-home and primal throughout. There's a strong sense of rhythm that permeates this record, whether it comes from the fife and drum-derived percussion work of Calvin Jackson and Joe Hicks or simply Jessie Mae's own foot-operated tambourine driving the beat home. Highlights include "Jessie's Boogie" and "Standing In My Doorway Crying" (both sides of her first 45 single, underwritten by the National Endowment for the Arts), "Honey Bee," "Boogie Side of the Road," "Crawdad Hole," "Lovin' In the Moonlight," "Married Man Blues" and the title track. The blues, real and raw. -AllMusic Review by Cub Koda

1. She-Wolf 4:38
2. Standing In My Doorway Crying 4:38
3. Jump, Baby, Jump 3:20
4. Take Me Home With You, Baby 2:45
5. Black Cat Bone 4:54
6. Boogie 'Side The Road 3:45
7. Hard Times 2:51
8. Crawdad Hole 2:04
9. Married Man Blues 4:00
10. Honey Bee 4:54
11. Overseas Blues 3:18
12. Loving In The Moonlight 4:51
13. Bullyin' Well 2:19
14. Jessie's Boogie 3:54
15. My Lord Do Just What He Say 3:37

New York

Stellar out there spiritual jazz

''I just really can't put into words how under appreciated Gary Bartz NTU Troop is…or are…or whatever….
...bottom line is the Harlem Bush Music releases are badass…period. 

Unique sounds are hard to come by these days, but back in the olden times it seemed to be on every corner…
…and I'm talking good unique, not some ol' underground nonsense you talking about nowadays.

Gary Bartz NTU Troop was swimming in message, and funk, and jazz, and defiance.
The vocals are as haunting as the music…1971 and releasing an album with titles like "Vietcong", or moaning into a sax reed unaccompanied as "Blue (A Folk Tale)" does before that acid funk kicks in for a jazzy 18 minutes!
Anyone know whatever happened to drummer Harold White?
Good heavens does he lay it down!

Expand your mind.
Gary Bartz NTU Troop will tell you how it was, and how it is.'' -breakwind

''Andy Bey's vocals on this album are truly sublime; this guy has one magical voice. Musically the album is great too, a really decent protest/awareness album that never gets too preachy. Though the sound is quite free thinking, it never wanders into the crazy zone, but always maintains its structure. There's quite a bluesy feel to a lot of it, particularly in the side long opening track, that apart from a slightly clichéd blues break in the middle never falters from being a mesmerising listen. This is a really great album that's full of soul, feeling and expression, I'll definitely be revisiting it a lot.'' -MH1000

''Gary Bartz had formed a group dedicated to producing rightious and uplifting music in 1970. The Ntu troop put out some great records and i think that this is the pick of the bunch. Side 1 is taken up by Blue (a Folk Tale). This long track starts with some vocals followed by some free blowing by Bartz as way of an intro. Then all of a sudden in kicks the blues and the voice of gold belonging to Mr Andy Bey. Bey is joyous and his work here is easily some of his best. Side 2 features the protest songs, Vietcong and Uhuru Sasa and the spiritual numbers, The Planets and Bey's own masterpiece Celestial Blues. Throughout Bartz plays in a funky style and never gets too carried away with showy solos which helps the feel of the music. Another jazz master side man (Ron Carter) is on bass and adds some lovely work on electric basses.'' -bruklover

In the notes of Gary Bartz’s Ntu Troop’s Harlem Bush Music – Uhuru, Maxine Bartz shares the words of a friend upon first listening to the 1971 collection of soul jazz: “This is a LIFE album!” Maxine suspected nothing more need to be said to sum up her husband’s aim. Led by the saxophonist Bartz, Ntu Troop aimed to encompass the vastness of the black experience in the early 1970s. Bartz had jazz in his blood; early on, he joined Art Blakey on stage at his father’s jazz club in Baltimore. He studied at Juilliard and cut his teeth playing with McCoy Tyner, Max Roach, Pharoah Sanders, and others, and explored the intellectual landscape of New York’s Lower East Side, hanging out with Allen Ginsberg and Amiri Baraka.

As the ’60s faded, he began pioneering “soul-jazz,” a new fusion that folded together hard bop, soul, funk, free jazz, and polyrhythmic Afro-Cuban music. He formed a new group, Ntu Troop, with vocalist Andy Bey (a favorite of the then-late John Coltrane) at the microphone, the legendary Ron Carter on bass, Harold White on drums, and Nat Bettis on percussion. Bartz was interested in broadcasting a particular worldview, one that was stridently African, anti-war, and cosmically enlightened. He wanted to make music that reflected his experience.

One of two installments in Ntu Troop’s Harlem Bush Music series (Taifa came the year before) 1971’s Uhuru was dedicated to Malcolm X and John Coltrane. You can hear the proud defiance of the former in the grooves of “Uhuru Sasa,” led by Bey’s refrain of “Hell no, we won’t fight your filthy battles.” Similarly pointed is “Vietcong,” which illustrates the direct connection between the civil rights and anti-war movements. Songwriter Hakim Jami’s invocation of the Viet Cong as “a little old man walking through the jungle” who’s “fighting for his homeland” renders the complexities of the Vietnam war a little too idyllically, but it’s easy to see why black advocates might empathize with the Viet Cong as much as US soldiers caught up in a sketchy international conflict. “Why don’t all you foreigners leave these folks alone,” Bey asks, knowing full well that plenty of young black men had been conscripted to fight in the Vietnam War for a country that offered them little to no respect on their home soil.

As for Coltrane, his influence is felt all throughout the record’s questing, strident grooves. Opening song “Blue (A Folk Tale)” takes up the entire first side of the record, bouncing between the vocals of Bartz and Bey and the group’s most energetic bursts. Even farther out is “Celestial Blues/The Planets.” Bey’s voice—warm, full, and clear—plays in tandem with Bartz’s soaring melodies, the combo brewing up a dense blend of funk and jazz underneath them.

Ntu Troop was named for the Bantu word for “unity,” and represented the concept of “unity in all things, time and space, living and dead, seen and unseen.” Fittingly, “Celestial Blues” offers cosmically sage advice: “Expand your mind / Don’t let it wither and die / You’ll find it lifts your spirits high to the sky,” Bey sings. It would be nice to imagine that the message of Ntu Troop would feel antiquated more than forty-five years after Uhuru’s original release, but Bartz’s vivid, jazzy sermon still sounds radical and intense. It’s life music for people just trying to live. -Jason P. Woodbury

1. Blue (A Folk Tale) 18:07
2. Uhuru Sasa 6:49
3. Vietcong 5:17
4. Celestial Blues 7:36
5. The Planets 5:08

Los Angeles

A soulful and celestial voyage to otherworldly music realms.

Tenor saxophonist Joe Henderson rose to stardom releasing iconic post-bop jazz on Blue Note in the sixties, but it was in the seventies when Henderson branched out into inspiring and experimental terrain.

The Elements is one of the most exciting examples of Henderson’s innovative creative directions.

Mixing jazz with funk, soul, psych, latin, Indian and beyond, the LP is a four-part improvisation based on compositions written by Henderson, exploring fire, air, water and earth.

For this journey, Henderson enlisted a heavyweight group of likeminded, intrepid musicians including Alice Coltrane on piano and harp, Charlie Haden on bass, Michael White on violin, and Kenneth Nash on percussion.

What followed was a unique album, captured over the course of two days at Village Recorders studio in Los Angeles.

Remastered from the original tapes for this first ever reissue, The Elements is an essential sonic exploration, that still sounds as fresh and forward-thinking over 40 years later.

Alice Coltrane teamed with Joe Henderson for this 1973 jazz classic, an album where each member’s playing is in service of a single, cosmic statement of music.

The early 1970s were a unique time for jazz because the era was impossible to define. The major innovations of the previous decade, from free improvisation to the first stirrings of jazz fusion, had been embraced as part of jazz proper, and a new sense of possibility loomed. The electric groups that would move huge numbers in the decade were all rolling by 1973—Weather Report, Return to Forever, Mahavishnu Orchestra—but the avant-garde, though still vital creatively, was moving back underground. The commercial success of Impulse! in the ’60s, fueled by John Coltrane’s astonishing run during his final years, hadn’t been able to sustain itself, and “out” jazz became once again more of a niche concern, with some of the most exciting music emerging from the DIY New York loft scene. Meanwhile, the incorporation of non-Western instruments into jazz, helped along by John Coltrane himself in the early ’60s (see his piece “India”) was developing into something truly beautiful under the watchful eye of the late giant’s collaborators, including Pharoah Sanders and John’s wife Alice.

In this hothouse environment, Joe Henderson—a widely respected but relatively traditionally-minded saxophonist—could try his hand at flowing, impressionistic music with a decidedly global bent. On 1973’s The Elements, newly reissued in a Concord Music series that highlights out-of-print vinyl, he found himself with a band of visionaries that included bassist Charlie Haden, violinist Michael White, and percussionist Kenneth Nash. But the crucial energizing spirit behind the record is Alice Coltrane, who, in a rare role as a side musician, contributes harp, piano, tambura, and harmonium. After her husband’s death, the vast majority of Alice’s recorded output was recorded under her own leadership, but though this is Henderson’s record and these are his compositions, on The Elements, she and Henderson are essentially equal partners.

Henderson’s early background, dating to his emergence in the early ’60s, found him playing funky hard bop, and he was a regular fixture on dates for the Blue Note label. As the decade turned, he began to explore new settings for his music, including a brief stint in the jazz-rock band Blood, Sweat & Tears. But The Elements was basically a one-off for Henderson as a leader. Arrangements like these, found on records like Journey in Satchidananda and Ptah, the El Daoud (the latter album features Henderson) are where Coltrane created her most stirring work, and this record has to be counted among them.

The Elements is a sort of concept album—its four tracks are titled “Fire,” “Air,” “Water,” and “Earth.” The music is an unusual assemblage of open-ended blowing, loping funk, and drone, with a heavy emphasis on sounds and scales from North Africa, the Middle East, and India. The live interplay is important, but a metallic studio crispness provides an intriguing tint: Henderson’s horn is often processed electronically and obvious tape splices and overdubs appear throughout.

The compositions range from horizontally expansive tone paintings to sample-begging groovers that touch on R&B. “Fire” is a percussion-heavy workout with a slight Latin tinge. Henderson’s horn is slathered with echo and delay, giving it an exploratory spaciness amplified by Coltrane’s dreamy comping on harp, while White’s violin sawing brings the piece back to the ground. “Air,” with Coltrane moving to piano, plays like an explosion in slow motion, as instruments cluster and swell and decay, riffing on tonal color rather than harmonic structure. “Water” begins with Coltrane setting the table with buzzing drone on tambura as Henderson plays a pinched and fractured solo, his horn heavily treated. The mix of electronics and drone and the strong feeling of studio creation brings “Water” into the realm of ambient pioneer Jon Hassell, whose album 1977 Vernal Equinox would lay the foundation for his future/past “fourth world” musical conception. The closing “Earth” incorporates aspects of the previous tracks, but adds a seriously sample-ready bass/drums groove to mix, bringing the album in conversation with contemporary developments in soul and funk. Each piece is distinct, but they lock together perfectly, offering different angles on similar ideas.

The reissue itself, newly remastered from the original analog tapes (not a given these days), is exceptional, with rich sound and packaging that focuses on quality and staying true to the original issue rather than offering sheer heavy-cardboard weight. And its attention to detail reinforces something important about the record as a whole: how well The Elements works as a single statement. There are no earth-shattering solos, no star turns, every musician is there to create this primordial sound-world. This collective approach is something Alice Coltrane did particularly well. Spiritually-minded cosmic jazz came into its own at the turn of the ’70s, and this is one of the best albums the scene produced. -Mark Richardson

1. Fire 11:07
2. Air 9:58
3. Water 7:32
4. Earth 13:13


The Ice series of Mighty Sparrow releases goes back to the beginnings here, with a strong collection of his prime late-'50s/early-'60s material. It was songs like "May May" that helped make Sparrow the undisputed king, the man in modern calypso in Trinidad until the soca wave arrived to challenge him in the late '70s. Musically, it's calypso coming out of big band with mellifluous horn sections prominent and a subtly propulsive rhythm section that never forces itself over the melodies. There are big horns in the background of "Jook for Jook," but it's typical of Sparrow's arrangements that all the elements fall in place so well; the music sounds full but not cluttered. And he constantly impresses as a very smooth, fluid vocalist negotiating complex melodies and rapid changes, or dropping into romantic crooner mode among the horns and harmonies of "Rose." The song, one of his early big hits, is very well-constructed period pop, although maybe a little corny so many years removed from its first release. Similarly, it's best to cut a bit of slack for the unflattering portrait of a greedy woman on "Teresa" or the badly outdated male-female psychology concepts in "Man Like to Feel," given that they're strong tracks and were, after all, recorded back around 1960. But what impresses most on Volume Four, and a key element in his popularity in Trinidad, is how funny the lyrics are and how Sparrow isn't afraid to poke fun at himself. "Dear Sparrow" is a Dear John letter with Sparrow as the cuckolded victim -- instead of lashing out, he's smooth and reasonable even through the final kiss-off when he tells his cheating woman to give the baby to the other man who the kid looks like. "Steering Wheel" is a hilarious tale of amorous adventures run amok in a parked car -- Chuck Berry's grudge against the safety belt that wouldn't budge in "No Particular Place to Go" has some company here.

"Simpson (The Funeral Man)" is both the first of his "news of my death is greatly exaggerated" routines and the opening salvo in a famous jive-fighting feud with Lord Melody that fuels a few songs here. He's not above being petty here, though, unfortunately attacking Melody through his women on "Madam Dracula." But "Well Spoken Moppers" is a funny general putdown of people who aim to impress by their command of fancy words -- a quality highly valued in calypso -- but who don't know what the words mean or how to use them correctly. "Russian Satellite" is a clever commentary on space exploration fever kicked off by Sputnik with a great "Send up a Russian/Don't send up Rover" line referring to an earlier space test involving a dog that died. But Sparrow is dead serious and seriously ahead of the curve on street violence and arms dealing on "Gunslingers" and street gang assault on "Ten to One Is Murder." The former's dead-on portrait of rude boy youth is partly offset by soothing vocals and sunny music while the latter, another big 1961 hit for Sparrow, is calypso as the people's newspaper reporting from the scene of the street crime. It's unsettling that Sparrow was writing about these themes in 1960, but it may also be a good indication of why he became so dominant a figure. Volume Four is probably the most valuable compilation in the Ice series for newcomers to calypso and Trinidad music, because it focuses on the material Sparrow was writing and recording in the process of establishing himself as the undisputed king. -AllMusic Review by Don Snowden

Mighty Sparrow, Trinidad

There is no question that Trinidad is the royal palace of calypso and the Mighty Sparrow its king. The career of "Sparrow," born Slinger Francisco, is the history of modern calypso. He began in 1956, which was early enough for his songs to be covered by older calypsonians, such as the great Duke of Iron. The tribute was of course returned by Sparrow.

Sparrow's musical achievements include steel pan development, use of electric guitar, and eventually promoting "soca," or soulful calypso. Free from the restrictions of pre-1956 recording restraints, generally he sang longer songs with more intense lyrics and themes. From the start, Sparrow revolutionized calypso, and only the records from his first few years can be compared to those of hi-fi era calypsonians.

Eventually Sparrow became the most decorated calypsonian in history, winning the Calypso Monarch Crown and the Road March Title many times. His popularity was never in doubt, but he did not capture either title and hold it consistently, as many people believe. He forfeited the crown several years by protesting or abstaining from the competition, and in other years he simply lost.

Sparrow developed calypso itself, contributed a staggering number of hit songs, repeatedly captured the crown, and produced many other artists. He protested conditions for calypsonians performing publicly, recording in the studio, and getting radio airplay. Calypso had been stagnating as quaint, folk music for cruise-ship tourists, but under Sparrow it returned to its hard-biting origins and became dangerous again. Political, often raunchy, and usually brilliant, Sparrow's music united West Indians from Trinidad to Brooklyn, New York.

Buying: There are so many! It is hard to go wrong with Sparrow records up until the mid-1970s. Even his latest albums have some of his best work, however. -hipwax.com

1. Mae Mae (May May) 4:27 
2. Simpson (The Funeral Agency Man) 4:19 
3. Sailor Man 2:40 
4. Rose 5:50 
5. Dear Sparrow 4:25 
6. Man Like to Feel 3:47 
7. Steering Wheel 4:43 
8. Jook for Jook 3:14 
9. Trinidad Carnival 2:30 
10. Gunslingers 4:24 
11. Russian Satellite 3:53 
12. Teresa 5:10 
13. Well Spoken Moppers 3:42 
14. Madam Dracula 5:06 
15. Monica Dou Dou 4:05 
16. Ten to One Is Murder 3:09


This is a wonderful collection featuring vintage recordings by two masters of Indian Classical music. The disc features a variety of both extended and more succinct pieces. While it could be argued that much Indian music has a psychedelic quality, it sounds as though an extra effort has been made to add psychedelic production to the last couple of tracks on the disc. -asoundpainter

Digitally re-mastered collection of early recordings by these two Indian music masters. Ustad Ali Akbar Khan and Ustad Vilayat Khan, exact contemporaries and sarod and sitar players respectively, are spoken of with the same reverence that is usually reserved for Ravi Shankar. Of course, both are familiar to students of the genre of Indian classical music in the west (Vilayat Khan is known for his famous score to the merchant-ivory film the Guru) but the commercial potential of their incredible art is only now beginning to be realized. Like Shankar, their work is hypnotic and spellbinding realized by flawless technique through a lifetime of devotion to their music. -El Records

It has become slightly passé now to go on about having 'found yourself in India', but back in the 1950s and 1960s, India, and Indian music were extremely new to much of the Western world. Although many would reference the 'star of the sitar' Ravi Shankar as the man who kick started everything, if it wasn't for a certain Vilayat Khan (another sitar player) who released this record in 1955, Shankar's music may never have found a wider audience. You see this album was recorded over half a century ago and yet listening to it now it still sounds fresh, rounded and definitely alien. Sure the styles have been re-appropriated since the 50s, sometimes successfully, sometimes disastrously (hello Kula Shaker) but there's nothing like hearing the real thing, and these two musicians were absolute masters of their craft. With Vilayat on sitar, Ali Akbar Khan took the sarod, a 25 stringed Indian lute and together their extremely differing styles of playing come together. Interestingly we get introductions from American violinist Yehudi Menuhin, who on travelling and performing in India was bowled over by the level of musicianship in Indian traditional music. On meeting these musicians he was amazed, enough to say of Ali Akbar Khan that he was "an absolute genius, the greatest musician in the world". High praise indeed, but this virtuoso skill can easily be heard in these compositions, from the first two long-form pieces each around twenty minutes in length to the shorter ragas which clock in at around three minutes each. Calling this psychedelic music might not be absolutely correct as it will likely give people the wrong preconceptions about the music itself, this is the sound that was taken on by the psychedelic musicians of the time, and I implore you to give it some of your time, it really is quite incredible. -boomkat

1. Introduction by Yehudi Menuhin 2:13
2. Ali Akbar Khan - Rag Sindhu Bhairavi 19:53
3. Introduction by Yehudi Menuhin 1:07
4. Ali Akbar Khan - Rag Pilu Baroowa 24:39
5. Vilayat Khan - Raga Des 3:16
6. Vilayat Khan - Raga Prahadi 3:19
7. Vilayat Khan - Raga Mishra Khamaj / Alap 3:25
8. Vilayat Khan - Raga Mishra Khamaj / Gat 3:19
9. Vilayat Khan - Raga Bihag 3:14
10. Vilayat Khan - Bhatiyali Dhun 3:11
11. Vilayat Khan - Raga Chanrakauns / Asthai 3:28
12. Vilayat Khan - Raga Chanrakauns / Jalad 3:21


“This is not an album of full-on, frenetic, drum-machine driven dance music normally referred to as Balkan Beats. It’s not even the actual tracks that have been sampled and updated by modern Balkan Beaters. No – this is the real thing!” 

For the first time a superb compilation of 'Vintage Balkan Beats' aimed at both the contemporary Balkan beats crowd and also as a sampler for the amazing JSP box sets of Rembetika and other eastern European music. 20 tracks compiled and annotated by world authority Ken Smith this set is a brilliant entry point into Balkan and Rembetika music. The contemporary Balkan beats scene pays tribute to the roots and here this set serves up 20 superb and accessible tracks.

All these tracks come from JSP's wonderful catalogue of world music - remarkable cuts mostly taken directly from original 78s. This collection features virtuoso bouzouki and guitar playing from some of Rembetika's finest exponents, examples of Greece's most magnificent male singing, a stunning instrumental by a master of the oud and some outstanding belly dance music from 1927. There's also heart rending, soaring clarinet and haunting iso-polyphony from the hills of Epirus, pure vocal mastery from the Bulgarian hinterland and some ecstatic sounds from Greece's musical heroines. There are a few pioneering artists here - we've kept clear of musicians who dominated various genres and avoided best known tunes. Hence Annitsa Nikolaou's inclusion. Like so many others here, her track is irresistibly charming.

''The small print on the reverse of the rudimentary jewel case appears to apologise: “This is not an album of full-on, frenetic, drum-machine driven dance music normally referred to as Balkan Beats. It’s not even the actual tracks that have been sampled and updated by modern Balkan Beaters. No – this is the real thing!” But the (apparently) targeted audience of Balkan Beats hipsters, devoted in the main to remixes of contemporary sources from the former Yugoslavia, will surely raise eyebrows at what is actually a fine introduction to raw and early rembetiko music. While JSP are rightly renowned for their boxes of rare and precious blues, jazz, country and gospel, their equally impressive sets of rembetiko (and other Eastern European music), drawn largely from within the genre’s interwar time constraints, have been somewhat overlooked. So here are twenty yearning tracks lifted from the scratchy streets and 78rpm records of long ago, stories of urban and personal decay presented through deceptively simple and elegantly decadent arrangements. The whole is a tragic, enthralling and manic listen, of folk motifs and honest gloom, exciting violin improvisations, pulses of oud, and longing vocals from the end of the world and the night. It’s a near-faultless introduction to the music and the era, wisely including a number of rarities and leftfield choices in addition to more familiar names. So there’s Rosa Eskanazi, of course, and Markos Vamvakaris. There’s Stratos, the iconic rembetiko ‘godfather’, with his hoarse and tender love song of addiction. But there’s also Vulkana Stoyanova’s template for all the Mystere des Voix Bulgares phenomena of decades later. And there’s a 1936 rarity from Annitsa Nikolaou, her only release and prescient in its dark resignation and lyrical fragility. David Prudhomme’s recent award-winning Rebetiko bande dessinée, (being that rare beast, a work of fiction that successfully evokes music), details these magical and indeterminate rembetiko hours on the edge. The novel, which features Vamvakaris, Stratos and others, now has a soundtrack, in a compilation of haunting, fevered, belligerent and confusingly poetic music. Lament In Deep Style is the original English title of one of the dramatic tracks here, which says it all really.''

What we have here is the result of a truly inspired idea, a  sampler CD that promotes a part of the JSP catalogue that has emerged under the radar over recent years, surely deserving of a wider audience and appreciation. Anyone who has been with Red Lick for any period of time will undoubtedly be fully aware of the magnificent job that JSP has done over many years in tracking down and re-presenting a whole library of classic and rare blues, rhythm and blues, gospel, jazz, old-timey country and other traditional forms of American music. While offering no let-up in their continued commitment to the roots of American popular music, over recent years the restless souls at JSP have also turned their attention towards eastern and southern Europe (and even beyond) and collected, re-mastered and presented a tremendous series of traditional roots and folk music from Greece, Turkey, the Ukraine, Bulgaria and elsewhere. And, as represented in this 20 track sampler of the releases to date, the results are spectacular, featuring a diverse array of music recorded between the 1920s and 1950s. From virtuoso guitar and bouzouki interplay between the finest Rembetika musicians of Greece, to instrumental mastery of lesser-known instruments and heart-breaking vocals from across southern and eastern Europe, the emotional impact of which is not lessened a jot by the fact that I can't make out a word of the lyrics. Every one of the tracks included here is a beguiling little gem and I've no doubt that once heard, you will want to immerse yourself fully in more from the JSP library, as currently featured on eight box sets of Rembetika and a set each of rare Bulgarian material, Turkish traditional music, Ukranian and Lemko string bands, pre-war Italian migrants to the USA and more. If so, see the JSP box set lists on page 26 of the catalogue. Even if you don't have the time, money or inclination to get too deeply into this under-appreciated resource, this compilation alone is sufficiently strong to find its place as a real favourite in your CD collection. And if you need any further endorsement from The Lickery of this superb CD, it is worth noting that it was compiled and annotated by a certain Ken Smith, a name familiar to many as founder and former-owner of Red Lick. -www.redlick.com

1. Kitsos Harisiadis - To Moiroloi Vathi (Lament In Deep Style) 3:07
2. Mita Stoicheva - Stori Se Horo Golyamo 3:14
3. Rosa Eskanazi - Bul Bul Manes 3:06
4. Tekmil Incesaz Takimi Ile - Anadolu Oyun Havasi 3:19
5. Markos Vamvakaris - Andilaloun I Fylakes 3:10
6. Jack Grigoriou & S. Michelidhis - To Minore Tou Deke 4:07
7. Vulkana Stoyanova - Dimo Na Rada 3:35
8. Stratos & Stelios Keromytis - I Baglamadhes 3:11
9. George Katsaros - Afta Ta Kleftika Sou Matia 3:23
10. The Five Gliniotes - Mia Emorfi (Beautiful Woman) 3:19
11. Annitsa Nikolaou - To Mathene Pos S'agapo 3:22
12. Marika Ninou & Vassilis Tsitsanis - Ela Opos Ise 3:31
13. Udi Hrant - Huzzam Taksim 3:21
14. A. Kostis - Kaike Ena Scholio 4:13
15. Demir Cholakov - Kulska Trapeza 3:29
16. Athanasios Makedhonas - Tsifte Telli 4:17
17. An. Halkia - Gianni Mou To Madili Sou (My Yianni, Your Handkerchief) 3:22
18. Markos Vamvakaris - Olli I Rembetes Tou Dounia 3:14
19. Apostolos Hadzichristos - Nychto Pouli 3:21
20. Vassilis Tsitsanis - Serviko 3:08


Listen to the feverish years of two legendary bands. The greatest voices of Africa in the first flush of youth : YOUSSOU N'DOUR, OMAR PENE, ISMAEL LO, LABA SOSSEH, PEPE FALL... A collection of unpublished and rare materials from the earliest available audio sources. The first hits, the strongest tracks, the birth of Afro-feeling and M'balax.

Having just won its independence from French colonial rule, Senegal in 1960 was in the midst redefining its national identity. Under the presidency of poet Leopold Senghor, artists of all kinds were tasked with carrying forward Senegal’s cultural heritage, resulting in new opportunities for creative expression and collaboration. Musicians from all over West Africa traveled to cosmopolitan Dakar, where Afro-Cuban music was dominating the scene. With the Miami Club as their base, Ibra Kasse and Laba Sosseh formed the Star Band of Dakar, establishing Senegal as the center of the West African son cubano.

After a decade of reigning the Dakar nightlife, the group began to splinter. Founder Laba Sosseh went to Abijdan, Cote d’Ivoire to continue playing Cuban salsa, as other Star Band alumni sought to integrate indigenous Senegalese musical elements with the Afro-Cuban sound. In 1970 the Baobab Club opened, and brought six members from the Star Band to form the Orchestre Baobab, where frontmen Balla Sidibe and Rudy Gomi mixed southern Senegalese vocals with singer Laye Mboup’s Wolof griot style. In 1975 Papa Serigne Seck founded Number One du Senegal, and introduced traditional rhythms of sabar and tama, the talking drum, becoming one of the progenitors of the musical genre mbalax. This unique sound, which blends Senegalese and Cuban rhythms with kora string instrumentals and traditional melodies sung in vernacular languages, was popularized by singer Youssou N’Dour. In 1979 he became the leader of the wildly popular Etoile de Dakar, one of the last but most successful of the Star Band splinter groups, which provided a platform for establishing mbalax in West Africa, and eventually worldwide.

1. Kelendi 3:46
2. Danguele Fasso 5:20
3. Thieli 6:26
4. Diallo 5:15
5. Val N'Diaye 6:08
6. Mane Kouma Khole Thiyove 6:02
7. Diequema Diequema 5:27
8. Adioupe Nar 4:31
9. Lele 5:40
10. Sala Bigue 5:13
11. Keleye Teye 5:20
12. Bouna N'Diaye 7:10
13. N'Deye N'Dongo 5:54
14. Litie Litie 5:02


Brandwein, But with a Fuller More Melodic Tone and Better Sound Engineering

What a revelation. Tarras seems to have benefited by better sound engineering than Naftulah, and there is a greater melodic quality and fuller rounder sound to his tone. I love this album, of his earlier music, as the later stuff starts to be strained. -Benjamin Franklin


Naftule Brandwein may have been the "King of Klezmer," but Dave Tarras (1897 to 1989) was his musical equal, minus the bad behavior.

A Klezmer clarinetist of legendary talent, Tarras was born in the Ukrainian shtetl of Ternovka, and schooled in classical music by his Jewish family, which had performed for generations.

Tarras' father was a wedding poet (badkhn) and trombonist, who began teaching his son to read and write music, and to play the flute, when he only nine. At 13, dissatisfied with the flute's quality, Tarras studied clarinet with a local player for three weeks before he could "play a little," meaning he was expert enough to play at a non-Jewish wedding.

Tarras was exposed to but somewhat insulated from the brutal World War I era Ukrainian anti-Semitism; he escaped serving in the Tsar's army by playing in a military band and quickly graduating to conductor. He also conveniently played the guitar and balalaika.

By 1921, though, pogroms and the Russian Revolution had overwhelmed the family and Tarras left for New York, where his older sister had emigrated some time earlier. He started in a furrier factory at $10 a week, working up to $50 for a 50-hour week, with overtime.

After a year, he finally replaced the clarinet that had been destroyed by fumigation at Ellis Island and took a small job in a Brooklyn catering hall. He was soon playing in a band with Joseph Cherniavsky's Yiddish American Jazz Band.

Like all great klezmer, the 15 cuts on this recording easily hook and draw one's heart into an intense and ultimate joy of the moment --- and of life. It's hard to believe it's not on the klezmer bestsellers' list. These gems cover a 30-year time span, and are not included on any other other Tarras recording. They're gorgeous, every one. -Alyssa A. Lappen

1. Dave Tarras - Nokh a Glezl Vayn (Another Glass of Wine) 3:33
2. Dave Tarras - In a Rumeynisher Shenk (In a Romanian Saloon) 3:21
3. Abe Ellstein Orchestra; Dave Tarras - Zol Zayn Gelebt (Live It Up) 2:36
4. Abe Ellstein Orchestra; Dave Tarras - Nikolaev Bulgar 2:50
5. Abe Ellstein Orchestra; Dave Tarras - Tants Istanbul 2:53
6. Dave Tarras - Galatas Zeiden's Tants-Grandfathers Dance [Jewish Series] 2:43
7. Dave Tarras; Popular Orchestra Dave Tarras - Zefki Ikh Bin Dayner-Sher-The I'm Your She [Jewish Series] 2:49
8. Al Glasers Bucovina Kapelle Tarras - Bukoviner Freylekh 3:00
9. Al Glasers Bucovina Kapelle Tarras - Bessarabian Hora 2:59
10. Al Glasers Bucovina Kapelle Tarras - Doina 3:13
11. Al Glasers Bucovina Kapelle Tarras - Russian Sher 3:11
12. Al Glasers Bucovina Kapelle Tarras - Baym Shotser Rebn Oyf Shabes/Hora-At the Shotser Rebe's for Shabbos 3:12
13. Al Glasers Bucovina Kapelle Tarras - Duvid Shpil Es Nukh (Play It Again, Dave) 3:12
14. Al Glasers Bucovina Kapelle Tarras - Dos Tsigayner-The Gypsy Tune 3:03
15. Al Glasers Bucovina Kapelle Tarras - Kale Bazetsn (Tune for Seating of the Bride Ceremony) 3:04


King Sunny Ade is an internationally famous legend of world music who, for the past 25 years, has mesmerized audiences worldwide with his unique brand of Nigerian juju Afro-pop. This is a stunning collection of killer rare tracks by Sunny Ade from his early "classic" period of Nigerian hits prior to his 1980 international breakthrough. All of the tracks on this collection are previously unreleased outside of the Nigerian community - making this collection especially exciting for fans of world music.

When King Sunny Ade was signed to Island Records in the early '80s and introduced to Westerners as the newest African flavor of the month, his longtime fans in Nigeria must have been scratching their heads. Sunny Ade, to them, was already a national icon, his music familiar and the artist larger than life. The tracks collected here, like those on Shanachie's earlier The Best of the Classic Years, come from Sunny Ade's earliest years in the studio, 1967-1974, long before the release of Island's incredible Juju Music, the 1982 album that was intended to make Sunny Ade an international star on the order of Bob Marley (it didn't quite work out that way, but plenty of people still consider that album a world music must-have). The music on Gems from the Classic Years is somewhat leaner than that of the Island era, but no less epic or mesmerizing. The nearly-18-minute opening salvo, the four-song "Ori Mmi Majae N'te," was a complete album side when it was introduced, as were the three other lengthy medleys that follow it. Two other tracks that wrap up the set are raw, single album tracks of a few minutes each, and together they give an honest indication of what Sunny Ade's early music was all about: spare, non-stop, deep bass rhythms cut and pasted among swirling pastiches of melody; exquisite guitar lines almost omnipresent beneath the surface and emerging in solos frequently enough to dazzle; Sunny Ade's nasal lead vocals responded to in kind by ebullient choruses. This is African jam band music, recorded in less than state-of-the-art facilities (audiophiles take note: this ain't about that) but captivating hypnotically despite sonic imperfection. Unlike Sunny Ade's later recordings, the backing here is minimal, unembellished by multiple percussionists, steel guitars and the like. Yet it's no less powerful and soulful, juju at its most primal and direct. Sunny Ade may not have been known outside of his homeland just yet, but he was already a star. -Jeff Tamarkin

Ori MMi Maje N'te (4-Song Medley) 17:49
1.1 Ori Mmi Maje N'te
1.2 Owo Omode O To Pepe
1.3 Timu Mi Ni Mo
1.4 Pe Mi So Fun Mi
Nibi Lekeleke Gbe Nfosho (4 Song Medley) 17:52
2.1 Nibi Lekeleke Gbe Nfosho
2.2 Gbobgo Lope
2.3 Ori Olowo
2.4 Asiko Ni
I Sele Yi Leju (2 Song Medley) 17:18
3.1 Isele Yi Leju
3.2 Asalam Alikun
Sunny Special (4 Song Medley) 16:09
4.1 Sunny Special
4.2 Owo Ko Nife
4.3 Awon Ti Won Yo
4.4 Alhaja Bintu
5. Dele Davis 3:00
6. John Ali 2:46

Personnel: King Sunny Ade (guitar); Tunde Temiola, Matthew Temiola, Niyi Falaye, Jacob Ajakaye (vocals); Segun Llori, Bob Ohiri (guitar); Jelili Lawal (bass instrument); Moses Akanbi (drums); Alhaji Timmy Olaitan, Rasaki Aladokun (drum); Shina Abiodun (congas); Adeyemi Adisa (bongos); Michael Babalola (maracas); Gani Aiashe (shekere).

Rumba Jazz

Get cha movin' with the big bands..

This double CD is a down-for-double delight...booklet is an example of how all such re-issue documentation ought to be: enlightening yet concise, with a sparkling mix of disc labels, vintage photos, sheet music and posters. It's easily readable and well laid-out...Big Noise From Winnetka has never sounded so hi-fi...a delight throughout, this 2-disc conurbation of how many of our solid sender faves embraced the South American influence. It's varied in artists and moods..most of it really swings too. And the whole package costing less than most single CDs. Ay-Ay! --Andy Simons IAJRC Journal (International Association of Jazz Record Collectors)

Africa and Latin America together have moulded American popular music since the beginning of C20. African influences have led to the development of jazz, gospel and blues while successive waves of dance music from Argentina, Brazil, Mexico, Cuba, Puerto Rico and Jamaica have largely determined its rhythm. This compilation chronicles the emergence of habanera, bolero, tango, rumba, conga, samba, baion and charleston in jazz and dance music between the wars with the emphasis on rhythms from Cuba and Brazil.The Brazilian samba began to make its presence felt during 1930's. It is the spring in the beat and the almost imperceptible skip at the end of each measure that differentiate it from Cuban rhythms. But of all Latin rhythms, none had such an all-pervasive influence as the rumba. Its journey from the Middle East through North Africa and Spain to Cuba brought it into American dance halls during the Depression. Its syncopated, rhythmic riffs liberated dancers from stuffy foxtrots and waltzes, opening up an altogether more sensual world of excitement and exoticism.

Disc 1
1. Johnny Dodds - New St Louis Blues (1927) 2:59
2. Eddie South & His Alabamians - La Rosita (1927) 2:42
3. Bennie Moten's Kansas City Orchestra - Rumba Negro (1929) 2:51
4. The Jungle Band - Admiration (1930) 3:15
5. James Reese Europe - Memphis Blues (1919) 2:39
6. Lovie Austin And Her Serenaders - Charleston, South Carolina (1924) 2:52
7. Louis Armstrong - The Peanut Vendor (1931) 3:33
8. Charles Lavere & His Chicagoans - Ubangi Man (1935) 3:03
9. Noble Sissle's International Orchestra - Under The Creole Moon (1934) 3:20
10. Don Azpiazu - El Manisero (1930) 3:34
11. Alberto Socarras - Masabi (1935) 3:02
12. Augusto Coen - The Music Goes Round And Round (1936) 2:46
13. Fletcher Henderson - Take Me Away From The River (1932) 3:19
14. Carl Kress & Dick McDonagh - Danzon (1934) 3:09
15. Joe Venuti - Heat Wave (1933) 3:10
16. Duke Ellington Orchestra - Porto Rican Chaos (1935) 2:54
17. Movita Castaneda - The Carioca (1933) 3:00
18. Fred Waring's Pennsylvanians - Brazil (1942) 2:54
19. Bing Crosby with Xavier Cugat - Baia (1944) 2:57
20. Carmen Miranda - South American Way (1939) 2:53
21. Ray Bauduc and Bob Haggart - Big Noise From Winnetka (1938) 2:49
22. The Lecuona Cuban Boys - Tabou (1936) 3:12
23. Sidney Bechet - Egyptian Fantasy (1941) 3:00
24. The Haitian Orchestra - Sous Les Palmiers (1939) 2:36
25. Jelly Roll Morton - The Crave (1939) 3:08
26. Teddy Wilson - Blues In C Sharp Minor (1936) 3:18

Disc 2
1. Erskine Hawkins And His Orchestra - Satan Does The Rhumba (1939) 3:02
2. Louis Armstrong - The Daughter Of A Planter From Havana (1937) 3:19
3. Glenn Miller - The Rhumba Jumps (1939) 2:50
4. Xavier Cugat - Lady In Red (1939) 3:18
5. Mildred Bailey with Red Norvo Orchestra - The Weekend Of A Private Secretary (1938) 2:48
6. Benny Goodman And His Orchestra - Sing, Sing, Sing (1937) 4:09
7. Artie Shaw - Jungle Dreams (1938) 3:47
8. Hot Lips Page Orchestra - Harlem Rhumbain' The Blues (1940) 2:55
9. Andy Kirk - Cuban Boogie Woogie (1941) 2:23
10. Bob Zurke’s Delta Rhyhm Band - Rhumboogie (1940) 2:47
11. Bob Crosby’s Bob Cats - Yancey Special (1938) 3:20
12. Charlie Barnet - Surrealism (1937) 2:45
13. Fats Waller - Mamacita (1940) 2:42
14. Art Tatum - Begin The Beguine (1940) 3:54
15. Gene Krupa - Perfidia (1940) 1:44
16. Duke Ellington - Conga Brava (1940) 2:59
17. Antobal's Cubans - El Maraquero (1936) 2:59
18. Desi Arnaz - La Conga En Nueva York (1939) 2:25
19. Cab Calloway - Chili Con Conga (1939) 2:57
20. Joe Daniel - Cuban Swing (1938) 3:07
21. Edmundo Ros - Los Hijos De Buda (1941) 3:01
22. John Kirby - Rhumba In The Dark (1941) 3:17
23. Machito - Nague (1942) 2:57
24. Edmond Hall - Besame Mucho (1944) 2:42
25. Bunk Johnson - Porto Rico (1945) 3:11
26. Woody Herman - Las Chiapanecas (1941) 3:04

Includes 32-page booklet with track-by-track commentary on each song.


"the most well-known unknown in the business"

Don Ralke was a prolific arranger, composer, and producer, working for over 25 years in the Hollywood studio system in films, television, and pop recordings.

''The goal was simple to record the most exciting, dramatic, yet melodic album of Afro, percussion-based music ever. The competition was strong. Album after album has recently been emphasizing the crisp, stereoistic approach to recording, and presence and immediacy have become the sound that everybody's after. As we said, the competition was strong. But this album, we honestly feel, is IT when it comes to hyper-high-fidelty. Played on good equipment, it will shock your ears. Assembled by Don Ralke for this frantic session were the world's greatest latin percussionists. Afficionados of the art form will quickly recognize such names as those of Carlos Vidal, Modesto Duran, Marcelino Valdes, Earl Palmer, Frank Guerrero, Oswaldo DeOlivera, and Milt Holland. These and many, many others participated what turned into a cause celebre around Hollywood's recording musicians. When the news got out that this album was going to be IT, everybody in town seemed to show up for the sessions. Frantic is a word too often tossed about. These sessions were frantic, truly. As you will hear.'' --From the original liner notes

There is bongo music and then there is bongo music with an emphasis on the percussive instrument that became everyone's darling in the Golden Age of Exotica music. Bongos had been used on virtually every Exotica release but they were at the same time subordinate to the respective orchestration and were no more important than any other instrument. It was up to Don Ralke, a relatively unknown music arranger back in the late 50's, to bring the bongos into the limelight. As a result, he resurrected Jack Costanzo's fad called Bongo Craze and transfered the post-World War II phenomenon into the early 60's.

While we are talking strictly bongo here, Ralke's LP is fortunately varied and contains brass sections and original melodies, paying tribute to the predominantly melodious spirit of the Exotica Age. However, the tribute which is being paid is only a small one: Ralke has a zero-tolerance rule applied to schmaltzy, heart-warming ditties. So even if the release occasionally drifts to Oriental fragments, the raw power and energetic vibe of the bongos surely makes up for every slight bit of a cliché! Thankfully, Don Ralke's records are digitally remastered and easily available on your favorite online music store.

The LP starts with Head Hunter, and this is a gargantuan beast of a track, featuring several full-scale bongos played with wild precision, if you allow me this oxymoronic description. An orientally flavored melody is played by flutists and adds to the energetically loaded atmosphere. Despite the cliché in terms of the run-of-the-mill Oriental depiction, Ralke's composition works as well over 50 years later as it did back in the day, even though the novelty of bongos is slim to none nowadays and strict bongo songs don't meet the needs of a large audience anymore. Of course, this never bothered Exotica afficionados. Anyways, Head Hunter is one of ten tracks I would include in the Exotica Hall of Fame for sure.

The next track, Saoco, decelerates the tempo and is even more stripped down to the roots of bongos, featuring everyone's favorite percussive instrument in addition to shaman-like ramblings – and that's it. The build-up stage, however, is much more intimate and the bongos can hence be apprehended more clearly. Another winner, and all the more unusual for its time as Saoco features a kind of roughness in displaying a jungle atmosphere that most releases tried to capture with Western instruments. Here however, Ralke blends a plastic jungle made in Hollywood with a more realistic approach by the omission of strings, brass or other orchestral ingredients.

Ju-Ju Man features a vibrant melody played on a flute on high notes. The tempo shifts in the middle of the song, and the bongo sections are once more exquisite. While The Mystery Of Yambuya is the first Jazz song of the album with vibraphones and a cheeky melody played on marimbas, Voodoo Priestess is similarly built but with added ukuleles and an even more positive vibe, shifting the focus on bongos slightly away while still relying on their audible presence. Black Panther is another track worth mentioning; here, the bongos are played in a significant tick-tock rhythm while a mysterious, stripped-down melody is played, making this track one of the most genuine on this LP.

Moon Goddess features several flutes playing exciting, ceremonial chords with a slight Oriental touch. The bongos aren't as wild but harmonize with the melody by being played in a more complaisant way. Sacrifice Of The Maidens is a short quick-paced ritualistic tune full of energetic bongos, other percussive instruments and manic laughter. Safradesia is the brass song on the LP and also one of Ralke's more well-known songs. I would wager that this is the most melodious song and the added flute works quite charmingly in collaboration with still surprisingly dominant bongos. The brass accompaniment next to the main melody is especially catchy and remains always stuck in my head hours later once I listened to Safradesia.

Say what you will, but this album definitely stands the test of time. The instrumentation is well made and the actual stars, the bongos, are put to the forefront all the time. Artistically, this release is highly valuable as well because no other artist of those times envisioned or let alone succeeded in creating a jungle atmosphere the way Don Ralke did. In fact, songs like Head Hunter could work marvelously in posh-club DJ sets, I'm not kidding. Very highly recommended to everyone who is the slightest bit interested in Exotica music and especially to people who don't like the kitschy atmosphere of beach walks in moonlight that are generated every so often on Exotica releases but in fact prefer action and pumping bongo beats. This album embodies the concept of fashionable coolness in a way like no other Exotica release did in the 60's. -www.ambientexotica.com

1. Head Hunter 3:06
2. Saoco 2:26
3. Ju-Ju Man 2:34
4. Mystery Of Yambuya 3:13
5. Voodo Priestess 2:35
6. Face Beside The Fire 2:53
7. Poison Dart 3:46
8. Black Panther 3:20
9. Zulu Magic 1:58
10. Moon Goddess 2:52
11. Ritual Of The Cobra 3:01
12. Sacrifice Of The Maidens 2:07
13. Safradesia 3:30
14. Mombasa 2:32

Tracks 1-14 recorded in true stereo at Goldstar Studios September, 1959
Percussion instruments used: boo bams, drums, jaw bones, congas, claves, guiros, maracas, tom toms, tympani, temple blocks, wood blocks, cowbells, tambourine


That's reedman Hadley Caliman on the front cover – looking mighty righteous, and really setting the vibe for the music on the collection – a far-reaching, deeply-soulful batch of tracks from the Mainstream Records label in the early 70s. Mainstream's maybe not as well-remembered as a spiritual jazz outlet as other imprints from the time – like Impulse or Strata East – but this set more than corrects that fact, by showing off some of the hippest, most unbridled cuts on the imprint – work that's different than some of the straighter jazz or more funk-based tracks the label also issued at the time.

Bob Shad & Reggie Moore 1972
''Wewantsounds are back with a superb selection of spiritual jazz and funk grooves from legendary producer Bob Shad's Mainstream Records catalogue. Bob Shad was one of the greatest music producers of the 20th century, having worked with all the music giants, from Charlie Parker and Dizzy Gillespie to Sarah Vaughan, Lightnin' Hopkins, The Platters, and Janis Joplin to name just a few. "Bobby Shad was a legend in our family" says his grandson Judd Apatow who, together with his sister Mia, looks after Shad's back catalogue, Mainstream Records. Like his peers, jazz producers Creed Taylor and Bob Thiele, Shad went independent in the '60s, and by the early '70s, he was producing a string of superb albums mixing spiritual jazz with funk and soul. These albums are now being rediscovered by new generation of soul and jazz lovers hooked on the music of Kamasi Washington and Shabaka Hutchings. Recorded between 1971 and '73, the Fender-Rhodes-drenched tracks on Inner Peace showcase Shad's unique deep jazz sound. They feature such revered musicians as Harold Land, Roy Haynes, and Frank Foster, together with a younger generation of talented musicians led by Buddy Terry, Dave Hubbard, and LaMont Johnson. Here they are accompanied by the cream of '70s jazz session musicians including Bernard Purdie, Buster Williams, Eddie Henderson, James Mtume, Stanley Clarke, and Cecil Bridgewater. The Mainstream catalogue has been sampled by a long list of revered DJs and hip hop producers over the years. Roy Haynes's "Senyah" was sampled by De La Soul on "Pony Ride" and Shelly Manne's short outro "Infinity" forms the unmissable backbone of Jeru The Damaja's all-time hip hop classic, "Come Clean". A fitting tribute to the supreme sound of producer Bob Shad. Wewantsounds will start a reissue program of original Mainstream albums with bonus material and rare photos from the vaults. Also features: Charles Williams, Hadley Caliman, Pete Yellin, and Sonny Red.''

Collecting rarities from the vaults of Mainstream Records, Inner Peace acts as both a fine showcase for the label's founder and producer Bob Shad, as well as a shag-carpeted aural time capsule

For a guy who ended up being perhaps better known for his more pop-oriented productions (not to mention being the grandfather of the modern comedy’s uber-writer/director in Judd Apatow), Bob Shad’s career as a producer could not have had a more impressive start in the world of jazz than that of working with Charlie Parker for Savoy. By decade’s end, he’d begun recording such blues legends as Lightnin’ Hopkins and Sonny Terry and Brownie McGee. Taking this experience and his newly-appointed position as director of A&R at Mercury Records, Shad established the EmArcy label where he would go on to produce jazz giants like Sarah Vaughn, Maynard Ferguson, the legendary hard-bop-defining Clifford Brown/Max Roach quintet, Billy Eckstine, and Dinah Washington, among others. From here, Shad would dabble in not only jazz and blues (this time working with Hopkins and Big Bill Broonzy), but pop (the Platters, Vic Damone, Patti Page, et. al.), eventually, the burgeoning rock and roll market.

It is this latter venture that brought him the greatest acclaim, being the man behind the debut album appearances of both Janis Joplin (with Big Brother and the Holding Company) and Ted Nugent (then with the Amboy Dukes). Somewhere in the midst of all this, he found the time to established yet another record label, Mainstream. It was here that he came full circle, returning to his jazz roots, producing, among others, Dizzy Gillespie, Shelly Manne and Roy Haynes while also reissuing some of the earlier recordings in which he played a hand. And so it was with Mainstream that Shad once again made a name for himself in the increasingly insular world of jazz.

The recordings captured here on Inner Peace: Rare Spiritual Funk and Jazz Gems: The Supreme Sound of Producer Bob Shad, culled from the Mainstream vaults, reflect this renewed interest in the form, albeit one steeped more than a little in the prevailing pop trends of the day. Any early form of crossover jazz, the tracks collected on Inner Peace are neither too far out there for the mainstream nor too square for hipper audiences. Indeed, a track like Charles Williams’ “Iron Jaws", with its heavy funk groove and accessible melodicism, could just as easily serve as as the soundtrack to modernist bachelor pad as background music at an underground, smoke-saturated head party.

Similarly, the title track, performed by Buddy Terry occupies a similar territory. Just this side of smooth, “Inner Peace” plays like proto-yacht rock with a killer, driving bass groove that sounds very much of its time but still manages to thrill. This isn’t hard-driving funk, politically-charged soul or even straight-ahead jazz, rather a distillation of all three that not only appeals to a broad demographic in its innocuousness, but, in the 21st century, manages a type of cultural cache or currency that it may well have lacked at the time. In other words, these are the types of sounds that are driving modern revivalists in their approach to this kind of stylistic hybridization. Sometimes you just want to be able to sit back and listen – groove – to the music rather than intellectualize it.

To be sure, the playing throughout is top-notch, featuring contributions from Harold Land (the righteous, lumbering groove of “In the Back, in the Corner, in the Dark”), Roy Haynes (the smooth “Senyah”), Frank Foster (the almost Mingus-esque larger ensemble “Requiem for a Dusty”) and Shelly Manne (the weirdly avant garde, 45-second “Infinity”). On “Cigar Eddie", Hadley Caliman -- who also graces the collection’s cover -- rides a gentle driving, Latin-tinged groove for all its worth, allowing ample opportunity for the soloists to stretch out well beyond the generally restricting parameters of more commercially-minded music.

Inner Peace grants listeners with a fine offering of Shad’s talents and an overview of the Mainstream sound, circa the early 1970s. Yet because of this, it is also very much a product of its time, featuring a great deal of burbling wah-wah rhythm guitar, cascading Fender Rhodes and a generally laid-back demeanor indicative of the mellower side of the times. Nothing here rewrites history in any way, shape or form, but rather presents a fine collection of lesser-known tracks from the Mainstream Records vault and serves as a fitting showcase for Bob Shad’s talents as a producer. -John Paul

1. Harold Land - In the back, in the corner, in the dark (1972) 5:50
2. Roy Haynes - Senyah (1972) 5:41
3. Charles Williams - Iron aws (1972) 6:47
4. Buddy Terry - Inner peace (1973) 10:17
5. Hadley Caliman - Cigar Eddie (1971) 6:20
6. Frank Foster - Requiem for a dusty (1972) 6:12
7. Pete Yellin - Mebakush (1972) 9:14
8. Dave Hubbard - BC (1971) 4:54
9. Sonny Red - Love song (1971) 5:51
10. LaMont Johnson - Libra's longing (1972) 5:56
11. Shelly Manne - Infinity (1972) 0:44


''Gifted his first saxophone by his aunt at the age of fourteen, only four years later the inherently gifted and determined young musician Victor Assis Brasil recorded his debut album, with a second to follow only a year later. The prodigious young carioca was subsequently granted a place to study at Berklee College of Music, where he played alongside the likes of Dizzy Gillespie, Clark Terry, Chick Corea and Ron Carter. It was also during this period he recorded Esperanto and Toca Antonio Carlos Jobim with Roberto Quartin, upon returning to Brazil in the summer of 1970. 

Recorded in the same sessions as the Toca Antonio Carlos Jobim album, Esperanto consists of some of Assis Brasil's most mesmerising original compositions, as well as a heavy-swinging latin-jazz cover of Jimmy Heath’s ‘Ginger Bread Boy’. 'Quarenta Graus A Sombra’ typifies Assis Brasil's wild, frenetic jazz sound, while ‘Marilia’ and ‘Ao Amigo Quartin’ provide more melancholic moments. Esperanto’s influences span both American continents, finding a meeting point for Latin jazz and North American post-bop, with Roberto Quartin’s perfectionist approach to sound elevating the already incandescent music to divine new heights. The band consists of some mercurial greats of Brazilian music: Dom Salvador (bass), Edison Machado (drums), Helio Delmiro (guitar) and Edson Lobo (Bass). 

On Toca Antonio Carlos Jobim, Victor Assis Brasil morphed Jobim’s soothing originals into raw, deep jazz cuts: a product of its time as the smooth 'n' easy groove of the bossa beat no longer reflected the politics of a nation under the cosh of military dictatorship. 

Victor Assis Brasil passed away aged just thirty-five, due to a rare circulatory disease, but by this point his status was already cemented as one of the most talented musicians in Brazil’s history.''

The first point worth making is that Roberto Quartin’s 1970 recordings of Victor Assis Brasil Esperanto and Toca Antonio Carlos Jobim (now combined by the Brasilian-centric) UK label, FarOut Recordings is extremely life-like; this is, indeed one of those rare cases where the quality of the instrument(s) comes across as vividly as the quality of the playing of Victor Assis Brasil, which is first-rate-flawless. In fact it was that instrument – the saxophone – that consecrated its prodigiously gifted practitioner long before these recordings were made, before he even travelled to Berklee College of Music via Austria and Germany, where he put a singular stamp on his interpretations of Jazz music, funnelled through a unique Brasilian vision.

What constitutes interpretation? Surely every artist worthy of the name as Victor Assis Brasil was, sought to internalise the message of the music he chose to perform in the hope of sharing an exceptional perspective with the audience both at home and abroad. In the best cases, that perspective is highly individual, shaped by myriad factors, including age, training (however personal and individualistic), culture, intelligence, imagination, curiosity and life experience, among countless others. Certainly the best music – as is the case of these eleven tracks by Victor Assis Brasil – invites a variety of approaches. Indeed, and specific to these two albums, the saxophonist’s fascination with the Jazz canon is the constant revivification, the new insights and artistically satisfying experiences such varied, individual responses can produce.

Listening to Victor Assis Brasil’s two very different albums – one, as its title suggests, endorsing the universality of the Jazz music language, and the other using that very language to re-interpret the sanctified canon of Brasil’s patron saint (Tom Jobim) – is a reminder that the search for a uniquely personal interpretation of Jazz can, and does, veer just that appropriate distance from the beaten path (both ways) to remain fresh and completely and exceptionally distinctive. For instance Victor Assis Brasil, who “heard” the saxophone – viscerally and intellectually – most singularly in his early search for an identity, almost of necessity produced a sound that was completely his own; dry yet redolent of the iridescent sand that he carried and absorbed from his carioca feet upwards into his heart and very soul.

Thus, on his own compositions on Esperanto which imitate most closely the Jazz aesthetic the saxophonist is both ebulliently carioca-like, seductively annunciating impossibly personal feelings of saudades and alegria into the boundless energy of “Children”, “Marilia” and others, including into the opener, Jimmy Heath’s “Ginger Bread Boy”. Conversely he brings all of the tonal riches, individuality and power he developed on the instruments into the much quieter eloquence of Tom Jobim’s gorgeous repertoire – from the breathtaking “Wave” to the bewitching “Dindi”.

All the while we (also) marvel at the contributions of the magnificent pianist Dom Salvador (heard here on piano and electric piano), guitarist Hélio Delmiro, bassist Edson Lôbo, drummer Edison Machado and Claudio Roditi on piston oboe (on “Children”), all of whom are completely attuned to the vision and genius of Victor Assis Brasil. -Raul da Gama

1. Ginger Bread Boy 6:14
2. Children 10:16
3. Marilia 6:44
4. Quarenta Graus A Sombra 9:12
5. Ao Amigo Quartin 5:07
6. So Tinha De Ser Com Voce 4:01
7. Wave 9:49
8. Bonita 6:39
9. Dindi 5:04
10. Marilla (Alternative Version) 7:52
11. Ao Amigo Quartin (Alternative Version) 7:51

Personnel – Victor Assis Brasil: alto saxophone and soprano saxophone (9); Dom Salvador: piano, and electric piano and organ (9); Hélio Delmiro: guitar; Edson Lôbo: bass; Edison Machado: drums; Claudio Roditi: piston oboe (2)

Released – 1970 (and 2018)
Label – Quartin (and FarOut Recordings)


''A fascinating compilation devoted to the various themes of sin and wrongdoing-Gambling-Alcohol-Coke and in-Prison-Death. With artists such as Blind Lemon Jefferson, Tampa Red and Blind Willie McTell. The early Country Blues and more urban hokum Blues was terrific music which has had a massive musical influence over the years. But the artists were singing too-some very crafty and subtle lyrics (and some rather direct as well…) on contemporary social themes. Their lyrical artistry is exposed here. These are people with a message and a message that travels down the years.''

This wonderful set includes four discs, 100 tracks in all, of vintage blues 78s released between 1924 and 1942 compiled by collector and archivist Neil Slaven. Each of the four discs has a theme, with the first disc presenting songs about gambling (including Peg Leg Howell's harrowing and kinetic "Skin Game Blues"), the second covering alcohol and drugs (including Tommy Johnson's immortal "Canned Heat Blues"), the third playlisting songs about jail and prison (including Bukka White's powerful "Parchman Farm Blues"), and the fourth winds things up with songs about death (including Blind Lemon Jefferson's "See That My Grave Is Kept Clean"). Several of the sides here will be familiar to serious fans of prewar country blues, but there are enough rare sides here, too, to make this set an archival treasure, and the themed discs help sketch out the imagined (and sometimes very real) arc of many of these players' lives and times. -AllMusic Review by Steve Leggett

Gambling · 1926-1941
1-1 Papa Charlie Jackson - Four-Eleven-Forty Four 3:02
1-2 'New Orleans' Willie Jackson - Numbers On The Brain 3:04
1-3 Charlie 'Dad' Nelson - Coon Can Blues 2:47
1-4 Peg Leg Howell - Skin Game Blues 3:07
1-5 Walter Beasley - Georgia Skin 2:58
1-6 Memphis Jug Band - Snitchin' Gambler Blues 3:23
1-7 Jim Jackson - Policy Blues 3:10
1-8 Foster & Harris (Ma Rainey’s Boys) - Alley Crap Game 3:03
1-9 Leroy Carr - Gambler's Blues 3:09
1-10 Blind Blake - Poker Woman Blues 2:43
1-11 Clifford Gibson - Bad Luck Dice 3:16
1-12 Mississippi Sheiks - Hitting The Numbers 3:01
1-13 Bob Campbell - Dices Blues 2:51
1-14 Louisiana Johnny - Policy Blues 2:52
1-15 Bumble Bee Slim - Policy Dream Blues (You Better Get On It) 2:48
1-16 Cripple Clarence Lofton - Policy Blues 3:11
1-17 Kokomo Arnold - Policy Wheel Blues 2:57
1-18 Memphis Minnie - I'm A Gamblin' Woman 3:12
1-19 Peetie Wheatstraw - Coon Can Shorty 2:55
1-20 Red Nelson - Gambling Man 2:48
1-21 Roosevelt Sykes - Drunken Gambler 2:40
1-22 Washboard Sam - Policy Writer's Blues 2:41
1-23 Jimmie Gordon - Number Runner's Blues 2:45
1-24 Robert Nighthawk - Good Gamblin' 3:08
1-25 Peter Cleighton - Roaming Gambler 2:47

Alcohol, Coke & Gin · 1924-1942
2-1 Ma Rainey - Booze And Blues 3:11
2-2 Lewis Black - Corn Liquor Blues 2:59
2-3 Victoria Spivey - Dope Head Blues 3:20
2-4 Luke Jordan - Cocaine Blues 3:25
2-5 Margaret Johnson - Dead Drunk Blues 3:07
2-6 Jim Jackson - Bootlegging Blues 2:57
2-7 Tommy Johnson - Canned Heat Blues 3:39
2-8 Bill Johnson's Jug Band - Don't Drink It In Here 2:53
2-9 Clifford Gibson - Whiskey Moan Blues 2:45
2-10 Jenny Pope - Whiskey Drinkin' Blues 3:15
2-11 Barbecue Bob - Me And My Whiskey 3:09
2-12 Memphis Jug Band  - Cocaine Habit Blues 2:51
2-13 Leroy Carr - Papa Wants To Knock A Jug 2:32
2-14 Funny Paper Smith - Corn Whiskey Blues 2:55
2-15 James 'Stump' Johnson - Barrel Of Whiskey Blues 2:54
2-16 Roosevelt Sykes - Devil's Island Gin 3:03
2-17 Lucille Bogan - Drinking Blues 2:57
2-18 Scrapper Blackwell - Bad Liquor Blues 2:48
2-19 Jimmie Gordon - Drunken Woman Blues 2:49
2-20 Blind Teddy Darby - Bootleggin' Ain't Good No More 3:08
2-21 Jack Newman - Blackberry Wine 2:49
2-22 Joe Williams - Haven't Seen No Whiskey 3:24
2-23 Bukka White - Good Gin Blues 2:23
2-24 Memphis Slim - Beer Drinking Woman 3:00
2-25 Sonny Boy Williamson - Blues That Made Me Drunk 3:01

Prison · 1926-1941
3-1 Peg Leg Howell - New Prison Blues 3:18
3-2 Julius Daniels - Ninety Nine Year Blues 3:05
3-3 Sam Collins - The Jail House Blues 2:32
3-4 Buddy Boy Hawkins - Jailhouse Fire Blues 2:31
3-5 George 'Bullet' Williams - The Escaped Convict 2:58
3-6 Sylvester Weaver - Penitentiary Bound Blues 3:04
3-7 Blind Lemon Jefferson - Hangman's Blues 3:25
3-8 Furry Lewis - Judge Harsh Blues 3:00
3-9 Bessie Tucker - Penitentiary 3:27
3-10 Tampa Red - Prison Bound Blues 3:30
3-11 Ed Bell - My Crime Blues 2:50
3-12 Robert Wilkins - Police Sergeant Blues 3:04
3-13 Lucille Bogan - Whiskey Selling Woman 3:12
3-14 Gene Campbell - Robbin' And Stealin' Blues 2:45
3-15 Memphis Jug Band - He's In The Jailhouse Now 3:13
3-16 Lillie Mae Buggy - Jail House Blues 2:45
3-17 Leroy Carr - Big House Blues 3:04
3-18 Joe McCoy - Joliet Bound 3:09
3-19 Charley Patton - High Sheriff Blues 3:13
3-20 Kokomo Arnold - Chain Gang Blues 3:05
3-21 Red Nelson - Jailhouse Blues 2:59
3-22 Bukka White - Parchman Farm Blues 2:40
3-23 Sleepy John Estes - Jailhouse Blues 2:57
3-24 Champion Jack Dupree - Angola Blues 2:55
3-25 Big Maceo - County Jail Blues 2:54

Death · 1927-1941
4-1 Blind Lemon Jefferson - See That My Grave Is Kept Clean 2:54
4-2 Bessie Mae Smith - My Daddy's Coffin Blues 3:11
4-3 Mooch Richardson - Burying Ground Blues 2:48
4-4 Tom Dickson - Death Bell Blues 3:13
4-5 Billy Bird - Down In The Cemetery 3:14
4-6 Nolan 'Barrel House' Welsh - Dying Pickpocket Blues 2:51
4-7 Charley Patton - Prayer Of Death Part 2 2:51
4-8 Georgia Tom - Suicide Blues 2:35
4-9 Tampa Red - Dying Mercy Blues 3:11
4-10 Leola Manning - Laying In The Graveyard 3:04
4-11 Blind Willie McTell - Death Cell Blues 3:09
4-12 Bumble Bee Slim - Dead And Gone Mother 3:02
4-13 Jimmie Gordon - Graveyard Blues (Dead And Gone Blues) 3:13
4-14 Leadbelly - Death Letter Blues 3:02
4-15 Leroy Carr - Six Cold Feet In The Ground 3:04
4-16 Georgia White - Graveyard Blues 2:35
4-17 Red Nelson - Crying Mother Blues 2:39
4-18 Walter Vincson - When The Breath Bids The Body Goodbye 3:02
4-19 Black Spider Dumplin' - Death Of The Gambler 2:40
4-20 Washboard Sam - Gonna Kill My Baby 3:06
4-21 Little Son Joe - Bone Yard Blues 2:15
4-22 Bukka White - Strange Place Blues 2:53
4-23 Baby Doo - Death Of Walter Barnes 2:57
4-24 Bill Gaither - A Short Cut To The Grave 2:49
4-25 Big Boy Crudup - Death Valley Blues 3:14


The Greek immigrant community imported many of its vibrant cultural traditions to the US - and none was more potent than the music they brought with them. Here are tracks recorded in the United States by musicians versed in a style that takes decades to master. Added to their skill the romantic listener might discern the utter joy of reaching a land of freedom and plenty. Grammy award-winning archivist and researcher Chris King is a keen collector of authentic traditional Greek music and this remastered selection is from his own library.

Disc 1
1. A Kostas Makris Orchestra Trio - Katse Easeacha Bre Yero
2. A Kostas Makris Orchestra Trio - Ekato Drahmes Tea Mera
3. Váso Miloná - Aggelo
4. I. Maillis, S. Zempillas - Kalimnikos Issos
5. I. Maillis, S. Zempillas - Kalimnike Sousta
6. Gregorios Toulousis - O Tselios (Thief's Song)
7. Eleftherios Menemenlis - Enas Aetos (An Eagle)
8. Rita Abatzi - Mou Pareggile to Aedoni (The Nightingale Told Me)
9. Rita Abatzi - Pedia Mou Giati Este Analaga (My Kids Why Have You Not Changed Your Clothes)
10. Demetrios Benetos - Apopse Mavromata Mou (My Blackeyed One Tonight)
11. Demetrios Benetos - Konstantinia
12. Giorgos Papasideris - Pethan, O Vlaxos
13. Giorgos Papasideris - O Yiannos
14. Dalgas - Ali Pasha
15. Rita Abatzi - Mi Me Stelnis Mana Stin Amerike (Mother, Don?t Send Me to America)
16. Rita Abatzi - Argitopoula (Girl From Argos)
17. Nikos Karakostas - Arvanitovlahiko Vathy
18. Agouroussa Poussouria - Nyphiatiko Karavlahiko
19. Ioannis Kyriakatis - Papathia (Priestess)
20. Ioannis Kyriakatis - Mavritheroula (Beautiful Brunette)
21. Ioannis Panagiotopoulos - Tragoudi Tou Gamou (Song of Marriage)
22. Demetrios Semsis - Horos Tsamikos (Tsamikos Dance)

Disc 2
1. Demetris Kallinikos - Ali Pacha Ala Moraitica
2. Demetris Kallinikos - Trigona
3. K. Bournelis - Arvanitiko O Aetos (Eagle Arvanitiko)
4. Efthimios N. Kristou - Poustseno (Boufiou)
5. Efthimios N. Kristou - Gaida (Grat)
6. Ioannis Kyriakatis - Karagouna
7. Ioannis Kyriakatis - Itia (Willow)
8. Kostas Gadinis - San Pas Ste Kadamata (When You Go to Kalamata)
9. Kostas Gadinis - Syrtos Politkos (Syrtos Dance From Constantinople)
10. Demetrios Holevas - Lala to Aedoni Lalato (The Nightingale Sings)
11. Demetrios Holevas - Aristidis
12. Evangelos Zaralis - To Thamevome Kiego (I Admire It Too)
13. Evangelos Zaralis - Ta Livadia Livadizoun (The Meadows Are Ripening)
14. Váios Maliáras - Syrtos E Larissa
15. Andreas Douklias - Tria Hrisa Garithalla
16. Efthimios N. Kristou - Kavadari
17. Athanasios Lavidas - Elios (Sun)
18. Athanasios Lavidas - Platanos (Plane Tree)
19. Demetrios Semsis - Horos Kalamatianos
20. Harilaos Papadakis - Kritiko Vari Syrto
21. Harilaos Papadakis - O Psillos Ehe Chari (The Flea Has Grace)

Disc 3
1. Nikolaos Saridakis - Sirtos Haniotikos
2. Georgios Koutsourelis - Pentozalis
3. Georgios Macreyannes Trio - Horos Politikos
4. Georgios Macreyannes Trio - Zeimbekikos
5. Papadaki Sisters - Kritiki Niktodia (Cretan Night Song)
6. Harhalis - Sirtos Apokoroniatikos (Sirtos Dance of Apokorona)
7. Alekos Karavitis - Haniotikos Sirtos
8. G. Gombakis, Harilaos Papadakis - Sirtos Kissamitikos
9. G. Gombakis, Harilaos Papadakis - Sirtos Kritikos
10. Manolis Felouzes Orchestra - Alenti
11. Manolis Felouzes Orchestra - Diagousikosi
12. Harilaos Papadakis - Xerosternianos Sirtos
13. Harilaos Papadakis - Haniotiko Sirtos
14. Harilaos Papadakis - Pentozali Horos Kritikos
15. Harilaos Papadakis - Creteko - Syrto
16. Harilaos Papadakis - Cretekyes Kontelyes
17. Georgios Gretsis - Hellenika Rapsodia (Greek Rhapsody)
18. Chrysanthos Theodoridis - Temon E Kardia Giarali (My Wounded Heart)

Disc 4
1. Georgios Gretsis - Rast Taxim
2. Georgios Gretsis - Hanoumiko
3. Georgios Gretsis - Beratiano
4. Georgios Gretsis - Silyvriano
5. Sotirios Stasinopoulos - Stis Arkadias Ton Plantano (Under the Plane Tree)
6. Sotirios Stasinopoulos - Pou Navro Go Vasiliko (Where Shall I Find Basil)
7. Sotirios Stasinopoulos - Pedia Giati Ste Analaga (Boys Why Haven't You Changed Your Clothes)
8. Sotirios Stasinopoulos - Ti Ehis Kaimene Platatane (What Ails My Poor Plane Tree)
9. Sotirios Stasinopoulos - Odysseas Androutsos
10. Sotirios Stasinopoulos - Tou Kitsou E Mana (Kitsos' Mother)
11. Antonios Sakellariou - Beratianos Sirtos (Berati Dance)
12. Antonios Sakellariou - Oules E Dafnes (All the Laurels)
13. J. Patsios, G. Kokotis, J. Lengas - Papaki (The Duckling)
14. Tchousi, Damalas & Company - Perivoli Echa Papia Mou (I Had a Croft, My Duck)
15. Antonios Sakellariou - E Flogera Tou Tsopanou (The Shepherd's Flute)
16. Antonios Sakellariou - Piggi
17. Antonios Sakellariou - Roussiko Kasapiko (Russian Hasapiko)