Dope funk, psychedelic soul and acid jazz from New York City '70-'74. UK compilation featuring 20 soul, funk and jazz classics from the legendary underground label best known for their acts, the Fatback Band and Black Ivory who are both represented here along with Dizzy Gillespie, Bobby Rydell and many more. Original vinyl from Perception and it's twin label today goes for a small fortune and has been sampled by DJ Shadow and KRS-One. Double slimline jewel case. 2000 release.
Drummer Idris Muhammad's first two albums as a leader (Black Rhythm Revolution! and Peace and Rhythm) are reissued in full on this single CD. The former set has a few worthy tracks (including Muhammad's colorful feature "Soulful Dreams"); the latter recording…has a pair of soul vocals and some R&B material. Trumpeter Virgil Jones and saxophonist Clarence Thomas get in their spots, and the music is danceable.
This CD reissues the complete contents of two former Lp's by saxophonist Sonny Stitt: Turn It On and Black Vibrations. These are rather unusual entries in Stitt's huge discography in that Sonny often sounds like a guest performer on his own sessions rather than the leader. During the earlier date, Stitt uses an electrical device (a Varitone) on his tenor that waters down his tone a bit. ~ AllMusic
The title of this compilation tries to make Montgomery viable for a younger generation, but it's not exactly "acid jazz." Rather, it's an anthology of some of Montgomery's better pop- and soul-oriented material from the mid-'60s. The 16 tracks show Montgomery in both orchestral and small combo settings, a few cuts taken from his collaborations with Jimmy Smith. Purists have long disdained this phase of Montgomery's career. But those who don't measure work by how straight-ahead it is will find much to enjoy here, in either the cuts with Oliver Nelson's orchestra, or the less elaborate sessions with the likes of Smith, Grady Tate, Ron Carter, and Ray Barretto.
A great Capitol moment from pianist Paul Smith – an artist who really cut some of his best material ever for the label ! The Smith sound is at the height of its powers here in the late 50s — kind of a blend of jazz and more easy-going pianistic modes — often stretched out with lots of flourishes by Smith on the keys, but never the too-flowery styles used by some of his contemporaries ! Instead, Paul keeps things nice and lean — always enough to be plenty swinging in all the right moments — with quartet help from Barney Kessel on guitar, Joe Mondragon on bass, and Stan Levey on drums.
This Is Acid Jazz Vol. 7: Steppin' Out (INS514, 50:17) is a low-key affair, showcasing the usual suspects (Shakatak, The JB Horns, Gota) and talents deserving wider recognition (The Sharpshooters, Woody Cunningham). Perfect beat moments: CFM Band's churning Bobby Byrd ("Get on up/Get into it!")/Headhunters/Tom Browne-pastiche "Make It Funky CFM," Cunningham's straight-outta-'70s funk-on-a-slow-roll "Tonite."
Acid jazz, also known as club jazz, is a musical genre that combines elements of jazz, soul, funk and disco. Acid jazz originated in the London club scene of the mid-1980s in the rare groove movement and spread to the US, Japan, Eastern Europe and Brazil. Major acts included Brand New Heavies, Incognito, Us3 and Jamiroquai from the UK and A Tribe Called Quest, Buckshot LeFonque and Digable Planets from the US.