Although Brazilian fusionist Deodato is perhaps best remembered in America for his work with Kool & the Gang, it's important to remember that his career spanned some three decades, and placed a delicious brew of jazzy disco on the charts across much of the 1970s. What he'd begun on the U.S. charts in 1973 with his funked-up rendering of "Also Sprach Zarathustra (2001)" and continued later that year with a rendering of George and Ira Gershwin's "Rhapsody in Blue," he continued on 1976's Very Together, reinventing the popular "Peter Gunn" theme to much acclaim. You've heard the Mancini version, you've heard Emerson, Lake & Palmer, you may even have heard Art of Noise - all have offered very different takes on this simple, brooding theme…

Recorded live in the Felt Forum of New York City's Madison Square Garden in the wake of Deodato's massive 2001: A Space Odyssey hit, this album has a fairly confusing history. Only three selections, "Do It Again," "Spirit of Summer," and "Tropea" were released on the original slapped-together LP In Concert, and these were combined with Airto Moreira's "Parana" and "Branches," which were recorded at the same concert. In the CD-era, the LP was split up; Deodato's tracks were combined with four unreleased tunes from the concert, giving the CD-buyer 35 more minutes of music, while the two Airto tracks were placed on The Best of Airto.

When CTI Records could not comprehend Deodato's huge success with Prelude, his career stalled. His shift to MCA Records gave the fusion world this all-time masterpiece and first release under his new label.

Whatever it is or isn't, acid jazz is full of groove DNA and even when chilled, it makes the feet move. This third installment in the Diggin' Deeper: The Roots of Acid Jazz series, which collects likely funk, jazz, soul, fusion, and disco sides from the deep Columbia/Epic/Sony catalog, includes such gems as Art Blakey's "Cubano Chant" and Lalo Schifrin's "Jaws," a Shaft-meets-Frankenstein hybrid version of the Jaws movie theme. This set moves and grooves from end to end, and even listeners with little interest in the acid jazz movement that surfaced some two decades after most of these tracks were recorded will find a great little alternative dance album lurking here.