Born in Detroit in 1932, Dorothy Ashby can be easily recognized as the woman who gave the harp a jazz voice. In her hands, the harp, an originally classical instrument which seemed to just scare people, became a highly versatile swinging voice able to drive a whole jazz rhythm section. Recorded in 1958 by master Rudy Van Gelder and originally released on the Prestige label, Hip Harp is a perfect example of Ashby's artistry. At the head of a fine quartet featuring the great Frank Wess on flute, Herman Wright on bass, and master Art Taylor on drums, Ashby creates a unique combination of deeply jazz elements expressed through a totally new sound.

The harp is not an instrument that easily gives itself over to free swing and quick improvisations. That’s one of the reasons why there have been very few credible jazz harpists. In fact, I can only think of four working today: Lori Andrews, Edmar Castaneda, Deborah Henson-Conant and Brandee Younger.

Afro-Harping is the first of a rarefied and outstanding trilogy of soul-jazz albums by Dorothy Ashby. Remastered from the original tapes, Afro-Harping is filled front-to-back with sumptuous and hypnotic grooves. Its African percussion, soulful orchestrations, in-the-pocket rhythms and Dorothy's virtuosity take it beyond jazzy mood music and made it a favorite of beat heads and producers. This deluxe edition features eight bonus tracks - alternate takes from the surviving four-track session reels, including an explosive rendition of the single, "Soul Vibrations," extended versions of the title track and "Little Sunflower," plus two fantastic jazzy readings of "Theme from Valley of the Dolls." 2 LP set.

Cue up “Soul Vibrations,” the first track on Verve’s reissue of Dorothy Ashby’s Afro Harping, and revel: a one-note syncopated bass line over a slamming drumbeat that you’re sure you’ve heard sampled somewhere. Enter the double-tracked theremins, followed by swoopy strings. Next, over the relentless beat, an echo-plexed harp solo by Ashby, during which the strings return with 16-notes; then the theremins run the groove into a fade-out. And there you have it: 3’15’’ of pure aural time capsule in all its mod glory.

Issued on Cadet in 1970, The Rubaiyat of Dorothy Ashby is really a left-field offering for the jazz harpist. But being a jazz harpist was – and remains – an outside thing in the tradition. Her previous offerings on Prestige were pure, hard bop jazz with serious session players soloing all over them…