Classic & Rare Electric Blues, Funk & Psychedelic Soul Music from Chicago's legendary Chess Records in the 1960s.

Melvin Sparks - Akilah! (Prestige, 1972)

Alto Saxophone – George Coleman (tracks: B1), Sonny Fortune (tracks: A1, A2, B1, B2)
Drums – Idris Muhammad
Flute – Dave Hubbard (tracks: B3), Hubert Laws (tracks: B3)
Guitar - Melvin SParks
Organ, Piano –Leon Spencer
Percussion – Buddy Caldwell
Tenor Saxophone – Frank Wess (tracks: A1, A2, B1),  Dave Hubbard (tracks: A3)
Trumpet – Virgil Jones (tracks: A1, A2, B1), Ernie Royal (tracks: B1)
Engineer – Rudy Van Gelder

Capitol Records

Jimmy McGriff ‎– Soul Sugar (1970)

70's Prestige Records : Leon Spencer - Louisiana Slim (1971)

Drums - Idris Muhammad
Congas - Buddy Caldwell
Organ - Leon Spencer, Jr
Guitar - Melvin Sparks
Trumpet - Virgil Jones
Tenor Saxophone, Flute - Grover Washington, Jr

70's Prestige Records : Idris Muhammad

Black Rhythm Revolution! (1971)

Drums - Idris Muhammad
Congas - Buddy Caldwell
Electric Piano - Harold Mabern
Bass [Fender] - Jimmy Lewis
Guitar - Melvin Sparks
Trumpet - Virgil Jones
Tenor & Soprano Saxophone - Clarence Thomas
Engineer - Rudy Van Gelder

Junior Parker - Love Ain't Nothin' But A Business Goin' On (Groove Merchant, 1971)

70's Prestige Records : Sonny Stitt - Black Vibrations (1972)

Alto & Tenor Saxophone — Sonny Stitt
Drums — Idris Muhammad
Guitar — Melvin Sparks
Organ — Leon Spencer
Trumpet — Virgil Jones
Producer — Bob Porter
Recorded By — Rudy Van Gelder

The Crusaders - Crusaders 1 (Blue Thumb Records, 1972)

Unique Album d'AIFF. From Netherlands. Big Up!

AIFF are in long terms Afro Influenced Funk Federation. The Dutch musicians around DJ & producer Phil Martin of Social Beats & musician Ton van der Kolk aka Draaikolk play an enormous groove establishing their own version of afro-funk. Influenced by classic afro funk like Fela Kuti, they try to bring afro-funk to a new dimension. Like other actual afro funk projects, they integrate all their musical influences in their tracks. The favourite styles they melt to their unique sound range from deep-funk, soul and jazz to reggae and afro music. They just love all kinds of roots music. (Unique)

Brazil 70 - After Tropicalia New Directions In Brazilian Music In The 1970's
(Soul Jazz Records, 2007)

Brazil 70 follows Brazilian music in the aftermath of Tropicalia as the country’s dictatorship entered its most oppressive phase. Musicians and artists from the Tropicalia period of the late-60s such as Gilberto Gil, Caetano Veloso, Tom Ze, Rita Lee (Os Mutantes lead-singer) and Gal Costa entered a new phase mixing rock, funk, samba and soul alongside a wealth of like-minded new artists such as Novos Baianos, Raul Seixas, Nelson Angelo and Joyce and more.

This compilation reflects the unique fusions of Funk, Mbalax, Cuban Son & Mandigue guitar sounds that transformed Dakar into West Africa's most vibrant city.

Thanks to its history of outside influences, Senegal - the western point of Africa - had become a musical melting pot. Cuban and American sailors had brought Son Montuno from Cuba, Jazz from New Orleans and American soul tunes: sounds that were swiftly embraced and adopted by urban dance bands and intuitively merged with local music styles.

One band in particular excelled at this fusion. 1960 marks the formation of Star Band de Dakar, a milestone that left an indelible imprint on Dakar’s musical landscape. Indeed, the whole country was soon grooving to their intoxicating mixture of Afro Cuban rhythms and Wolof-language lyrics.

The 1970s brought a new generation of stellar bands; Le Sahel, Orchestre Laye Thiam, Number One de Dakar, Orchestra Baobab, Dieuf Dieul de Thies and Xalam1 who fused traditional Senegalese percussion instruments such Sabra, Tama and Bougarabou with organs and keyboards, giving birth to new hybrids. Merging the folkloric and the experimental, these sounds, embraced by the youth, took centre stage and gave the previously dominant Cuban music a run for its money.

The Jackson Five, James Brown, Tabou Combo (Haiti), Celia Cruz (Cuba) and an array of African stars like Tabu Ley Rochereau (Congo), Manu Dibango (Cameroon) and Bembeya Jazz (Guinée) joined in with the local scene, improvising jam sessions and bringing new flavours to a music scene that was always open to new inspirations and influences. Johnny Pacheco immortalised his passion for the city with a song called "Dakar, Punto Final".

Hot Casa Records present Togo Soul 70 (Selected Rare Togolese Recordings from 1971 to 1981)

A treasure-trove of rare and unusual recordings mostly recorded in Lomé during the 70’s, a fusion of traditional voodoo chants, raw soul and Afro jazz. Finding these tracks and their rights holders hasn’t become any easier even after few trips all over this west African country bordered by Ghana, Benin & Burkina Faso.

Hot Casa Records decided to select 13 tracks, a snapshot of some hundreds of rare and often forgotten tapes from the most prolific, professional and exciting phase of the country’s recording history, including international stars like Bella Bellow (who even performed to Maracana stadium in Brazil), or Roger Damawuzan, compared as the James Brown from Lomé, and forgotten tapes and brilliant songs in Mina, Kabyié and Fon languages. Many of the tracks featured here are peppered with innovation and experimentation highlighting how diverse the music scene in Togo was at the time, even if the political context influenced their creation.

California Soul - Funk & Soul From The Golden State 1965-1976 (BGP Records)

Memphis 70 - The City's Funk And Soul In The Decade After Otis 1968-1978 (BGP Records)

Golden State Funk - Impossibly Rare Funk From The Bay Area (BGP Records)

Southern Funkin' - Louisiana Funk & Soul 1967-1979 (BGP Records)