This 1977 effort continues their hitmaking streak of one of fusion and R&B's durable and respected units. While this album's predecessor, Back to Back, was credited to the Brecker Brothers Band and featured members including David Sanborn and Steve Khan, it came off as underdone and facile. Don't Stop the Music does present their gifts in a more cogent fashion, but not without a few odd detours.

On Out of the Loop, Randy and Michael Brecker stepped up to the plate with their second long-player of the '90s, 20 years after their first foray into the jazz-funk-fusion realm. The album is surprisingly strong, and any fears of a paint-by-numbers attempt to cash in on past glories are quickly dispelled with the opening "Slang," which is reminiscent of Amandla-era Miles. Here, as throughout the disc, Michael's sax solo burns with abandon, while brother Randy's trumpet glides across a tastefully smooth and melodic terrain.

Spreading itself thick across three decades of funk, soul, and smooth R&B, Metro's Funk Soul Sisters not only covers a fair amount of stylistic ground, but it also mixes chart hits with rare groove, and in turn serves up a compilation that plugs gaps in one's collection while remaining a great listen from front to back. Though the focus is obviously on the women who made these songs what they are, the graceful touch of Roy Ayers is felt on four highlights of the disc's 16 cuts.

Dark Magus is a live double album by American jazz composer and trumpeter Miles Davis. It was recorded on March 30, 1974, at Carnegie Hall in New York City. Davis' group at the time included bassist Michael Henderson, drummer Al Foster, percussionist James Mtume, saxophonist Dave Liebman, and guitarists Pete Cosey and Reggie Lucas. He also used the show to audition saxophonist Azar Lawrence and guitarist Dominique Gaumont. Dark Magus was produced by Teo Macero and featured four two-part recordings titled after Swahili names for the numbers one through four.

The complete West End singles of Loose Joints – one of the funkiest projects to ever come from the legendary Arthur Russell – and a set of tracks that also features a fair bit of work from the funky Ingram Family too! The grooves are definitely some of the most offbeat to ever come from the mostly-disco West End label – and do a great job of crossing the space between the NYC downtown art world and club worlds of the early 80s – thanks to Russell's inventive leadership, and his wicked sounds on electric cello and keyboards too!