Lava (established 1977 in Årdal, Norway) is a Norwegian jazz-rock band, known from a series of recordings in the 1980s (Polydor Records). The initiators Per Hillestad (drums), Svein Dag Hauge (guitar) were joined by Kjell Hestetun (bass) and Stein Eriksen (keyboards) and released the jazz funk influenced album Lava (1980), with contributions from Geir Langslet (keyboards) and Olav Stedje (vocals). When Hestetun and Eriksen left the band, the quartet Hauge, Hillestad and Langslet and bassist Rolf Graf continued releasing the album Cruisin (1981), with contributions by Per Kolstad (piano), Sigurd Køhn (saxophone) and Marius Müller (guitar), and the track «Take Your Time» became Norway and Europe hit.

Saxophonist Candy Dulfer's sophomore album, 1993's Sax-A-Go-Go, built upon the smooth jazz of her debut while also playing up more of her hip-hop and dance music influences. Once again working with producer/multi-instrumentalist Ulco Bed, Dulfer delved even deeper into the club-ready funk and acid jazz that was in its heyday during the early '90s…

Although Idris Muhammad was employed as a sideman on his share of soul-jazz sessions in the '70s, the drummer hasn't been terribly visible as a leader. So it came as a pleasant surprise when, in 1993, he sat in the driver's seat for My Turn, a decent collection of jazz-pop, soul-jazz, and R&B employing such big names as Grover Washington, Jr. (tenor and soprano sax), Randy Brecker (trumpeter and flügelhorn), Hiram Bullock (electric guitar), and Bob James (electric keyboards). Not unlike the type of project Muhammad would have gone for in the '70s, My Turn is far from straight-ahead hard bop but isn't a so-called "elevator jazz" date either. R&B, pop, and funk considerations are emphasized, but not at the expense of improvisational freedom. Washington and Brecker get in some inspired solos on tunes ranging from pianist Neal Creqe's funky "Dracula" to Washington's congenial "Happenstance," and Muhammad does a nice job combining pop and soul's accessibility with jazz's spontaneity. Those who like their crossover meaty instead of fluffy should enjoy this CD.

Hank Crawford's fifth in his long string of Milestone recordings was the first of several to team the soulful altoist with organist Jimmy McGriff. Guitarists George Benson and the lesser-known Jim Pittsburgh are on three songs apice while Bernard Purdie is on drums except on "Frim Fram Sauce" where Mel Lewis takes his spot. The superior material and the infectious swing supplied by McGriff and his rhythm mates inspire Hank Crawford to some of his best playing of the era.

Seven, produced and written with longtime creative partner and husband Ian Devaney, is Lisa Stansfield's first album in nearly a decade. Despite concentrating on her acting career during the intervening years, Stansfield's voice is at full power, with all the elegance and power of her earlier work. The album is simultaneously retro yet fresh-sounding, led by the organic throwback disco of "Can't Dance." Stansfield and Devaney get some expert help from drummer John Robinson and arranger Jerry Hey, session giants who are well known among credit-scanning fans of soul, disco, and crossover jazz. 2014 Deluxe Edition added four bonus tracks.

On the Corner is yet another excellent Blue Note U.K. compilation of absolutely killer cuts from Blue Note's prime jazz-funk years in the wake of the soul-jazz explosion of the 1960s and Miles Davis' electric innovations in the late '60s and '70s. Typical of Blue Note in the period, these tracks all came from albums that were, in one sense, birds of a feather. In other words, whatever was "happening," Blue Note recorded it almost exclusively and forced even established artists to fit into that mold. While there were some mixed results, obviously, there is also a wealth of great material to choose from, as this funk-centric compilation makes very clear. One can already judge where the set is headed when it begins with Gene Harris' truly grooving "Losalamitoslatinlovesong." Harris cut three terrific electric jazz-funk sets for the label in the 1970s, only one of which has ever been available on CD. But other selections – such as Eddie Henderson's "Kumquat Kid," Ronnie Foster's "Cheshire Cat," Ronnie Laws' "Always There," and Moacir Santos' "Route" – offer funky fusion delights as well. There are 20 tunes on two discs, each of them jam-packed with gems.

Granted, a single-disc overview of Blue Note's finest recordings can't help but offer listeners more than a myopic view of the label's true scope, but for jazz neophytes, this nine-track collection will undoubtedly serve as a tantalizing taste of the company's riches. The song selection, though lacking few surprises, is consistently wonderful – how could a disc featuring John Coltrane's "Blue Train," Herbie Hancock's "Maiden Voyage," Horace Silver's "Song for My Father" and Lee Morgan's "The Sidewinder" be anything but? – and purists' complaints aside, for new fans it's a solid introduction to the Blue Note magic.

UK three CD set containing a trio of original albums by the Soul poet and activist: Real Eyes, Reflections and Moving Target. Each disc comes packaged in a miniature LP sleeve and all three are housed in an attractive slipcase.

Doug's newest project, his entry in the Jazz Is Dead album series helmed by Adrian Younge and Ali Shaheed Muhammad, takes his unique and timeless art and places it within the context of a musical culture that has always taken cues from his 70s classics. There's no mistaking the musical mind that created legendary albums like Infant Eyes and Adam's Apple, but the encounter of that with the distinctive jazz-hip hop-funk-noir that is the Younge/Muhammad/JID trademark creates something worthy of comparison to Carn's past work but which could only have been made right now. One can detect nods to musical motifs by Carn's jazz peers that have served as frequent sample fodder, but his compositional and improvisational integrity remain indisputable throughout.

Picture Book is the debut album by British pop group Simply Red, released in October 1985. It contains the #1 single "Holding Back the Years", the band's most successful single, and a cover of The Valentine Brothers' "Money's Too Tight (To Mention)". Three other singles were released from the album: "Come to My Aid", "Jericho", and "Open Up the Red Box". The album includes 'lively' and 'energetic' groove beats and ballad orientated keyboard undertones that help songs such as "Holding Back the Years" to be so effective. Members Tim Kellett and Fritz McIntyre are acclaimed by Hucknall to be the most influential in the album based on the distinctive sound of their playing.

As the second release on Simply Red's own label, Simplified finds the smooth soulsters reworking classics of their back catalog as well as introducing some new songs all in a stripped-down and stylish manner. Featuring such Simply Red classics as "Holding Back the Years" and "More," Simplified works well as a reintroduction to the band. And that's probably the main intention here. Although lead vocalist Mick Hucknall – whose burnished vocals sound superb here – and the band have largely kept a low profile since the early '90s, they haven't stopped touring and recording and as such have cultivated a devoted fanbase.