尼基尔·班纳吉加州录音1967 Nikhil Banerjee

Herbie Mann was quite unpredictable in the 1960s - from one album to the next, you never knew if he would embrace hard bop, bossa nova, Latin jazz, soul-jazz, or whatever else he was in the mood for. He could be commercial one minute, esoteric and experimental the next. One of Mann's more commercial LPs from that period, The Beat Goes On, is a generally funky, groove-oriented soul-jazz effort with strong Latin leanings. Much of the material brings to mind Pucho and the Latin Soul Brothers, and comparisons to Pucho are unavoidable on cuts that range from Mann's "More Rice Than Peas, Please" to a version of Sonny & Cher's "The Beat Goes On" and a Latin boogaloo interpretation of Joe Liggins' "The Honeydripper" (which features King Curtis on tenor sax). Afro-Cuban rhythms are a high priority, although Mann gets into more of a bossa nova groove on vibist Dave Pike's "Dream Garden." Jazz purists hated this release, but let them say what they will - this LP is full of highly infectious grooves and makes a great party album.

Herbie Mann was quite unpredictable in the 1960s - from one album to the next, you never knew if he would embrace hard bop, bossa nova, Latin jazz, soul-jazz, or whatever else he was in the mood for. He could be commercial one minute, esoteric and experimental the next. One of Mann's more commercial LPs from that period, The Beat Goes On, is a generally funky, groove-oriented soul-jazz effort with strong Latin leanings. Much of the material brings to mind Pucho and the Latin Soul Brothers, and comparisons to Pucho are unavoidable on cuts that range from Mann's "More Rice Than Peas, Please" to a version of Sonny & Cher's "The Beat Goes On" and a Latin boogaloo interpretation of Joe Liggins' "The Honeydripper" (which features King Curtis on tenor sax). Afro-Cuban rhythms are a high priority, although Mann gets into more of a bossa nova groove on vibist Dave Pike's "Dream Garden." Jazz purists hated this release, but let them say what they will - this LP is full of highly infectious grooves and makes a great party album.

Not bad at all. Not exactly brilliant either, but this recorded free-form "freak-out" from 1967 (originally released on New York City's Audio Fidelity label) is not only not terrible, but surprisingly pretty OK for stretches, especially considering the typical quality of these types of had-to-be-there period curios that purport to blow your mind with an aural approximation of an acid trip. This one actually manages to be something approaching far out, man, even at its most half-baked. Whether How to Blow Your Mind and Have a Freakout Party was, in fact, created as a "head" LP by practicing heads (a certain David Dalton is listed as the Unfolding's presiding mastermind - no word in the liner notes if this is the same Dalton who was a pioneering rock scribe and founding editor of Rolling Stone), or as an exploitation of same by a faceless assemblage of session musicians is really anyone's guess…

The House of David was David "Fathead" Newman's comeback album of sorts, marking his first release after the end of his association with Ray Charles and a few years spent with his family in his hometown of Dallas. Organist Kossie Gardner, guitarist Ted Dunbar, and drummer Milt Turner support Newman's gritty "Texas tenor" sound, which captures the straightforwardness of R&B pop and the improvisational elements of jazz. Newman plays the flute on the spunky "Miss Minnie," but one of the most interesting songs on the album is the untypical rendition of a Bob Dylan tune, "Just Like a Woman." the artist's warm tenor lifts this song to angelic heights, and it's fathomed that he had only heard the song a few times before laying down this recording…

Shelly Manne scored big with a jazz version of the Peter Gunn soundtrack in the 50s - and he does it again in this 60s version of Henry Mancini's music for the full-length Gunn movie! The style here is a bit more far-reaching and looser than before - showing not just Manne's development as an artist, but also his ear for some of the best styles of the younger generation - as evidenced by his inclusion of Frank Strozier on alto and flute, and Mike Wofford on piano - alongside more familiar faces Monte Budwig on bass and Conte Candoli on trumpet.

Recorded on January 22, 1967, at Lincoln Center in New York, four of these 19 songs were on the 1997 Old Friends box set, but the rest were unissued until the 2002 appearance of this release. The duo performs acoustically, without accompanists (as was usually the case in their concerts), on a fine-sounding and well-delivered set that doesn't contain any revelations, but is nonetheless an excellent document of their live work as they reached their prime…

Love’s FOREVER CHANGES is the psychedelic folk-rock pioneers’ finest achievement. The set features a few firsts for the album, including the CD-debut of a remastered version made by its original co-producer and engineer Bruce Botnick, as well as the first-ever release of the mono version on CD. Also included are alternate mixes of the album, as well as a selection of rare and unreleased singles and studio outtakes…

Shelly Manne scored big with a jazz version of the Peter Gunn soundtrack in the 50s - and he does it again in this 60s version of Henry Mancini's music for the full-length Gunn movie! The style here is a bit more far-reaching and looser than before - showing not just Manne's development as an artist, but also his ear for some of the best styles of the younger generation - as evidenced by his inclusion of Frank Strozier on alto and flute, and Mike Wofford on piano - alongside more familiar faces Monte Budwig on bass and Conte Candoli on trumpet.

The House of David was David "Fathead" Newman's comeback album of sorts, marking his first release after the end of his association with Ray Charles and a few years spent with his family in his hometown of Dallas. Organist Kossie Gardner, guitarist Ted Dunbar, and drummer Milt Turner support Newman's gritty "Texas tenor" sound, which captures the straightforwardness of R&B pop and the improvisational elements of jazz. Newman plays the flute on the spunky "Miss Minnie," but one of the most interesting songs on the album is the untypical rendition of a Bob Dylan tune, "Just Like a Woman." the artist's warm tenor lifts this song to angelic heights, and it's fathomed that he had only heard the song a few times before laying down this recording…