Knockout, anthemic rare groove, from the 1979 album Life, Love And Harmony. Ultra-jazzy, classy, and exultant, this is Nancy Wilson at her very best. She even throws in a quickfire Louis Armstrong impression. That’s John Klemmer playing saxophone.
Backed with The End of Our Love, a northern soul floor-filler from 1968, hard to come by.
Ace.

Surprisingly the first time on 12” for this brassy, string-laden, modern/Northern crossover classic, more Philly than NYC. Beautifully written by Thom Bell, expertly remixed by Tom Moulton.

Expertly ecstatic disco-house treatments of Marvin’s Come Live With Me Angel and You Oughta Be Dancin’, by People’s Choice. Prime Leon Ware, prime Tom Moulton, brilliantly filleted and lovingly arranged on the plate.
In short supply. Don’t miss this.

Chilled, underground, DIY fusion from eighties America, rolling up together jazz, new age, and pop. Music for a burgeoning managerial middle class, says Numero; pitched rather hopefully at ‘the new commercial audiences held captive in dentist offices and waiting rooms across America’.

HQ 180-RTI pressing.

One of their best, most diverse LPs: gritty soul, country hillbilly, raucous funk — the classic Nothing Before Me But Thang — and bagpipes galore on The Silent Boatman.

Gene Russell signed Kellee Patterson to Shadybrook in 1976, after the demise of his Black Jazz label.
Three years on from her Maiden Voyage LP, he engineers and plays piano, but Kellee is running the show, with her own arrangements and production.
More bang-on covers, including a killer, sleazy Barry White and a rough Mister Magic (both revived by Jazzman a decade ago), to put a dip in the hip of all b-boys and girls, and I Love Music on speed.
William Upchurch is here, from Motown; Marlo Henderson, who plays guitar on Off The Wall; Don ‘Tabu’ Cunningham…