After a long string of Prestige recordings, organist Jack McDuff recorded a few LPs for Atlantic in a similar soul-jazz style. The only change was that the length of the tunes tended to fall into the potential radio airplay range of four to six minutes. McDuff and his regular group of the period (Leo Johnson and Danny Turner on reeds, underrated guitarist Melvin Sparks, and drummer Ray Appleton) swing their way through five of McDuff's originals and two obscurities with plenty of spirit, if not a great deal of originality.

Funkalicious is a groove-oriented compilation bringing together classic funk, soul-jazz, and Latin jazz recordings from a variety of influential artists and bands. Released by Small Potato Records in 2012, the collection focuses on rhythm-heavy tracks driven by tight percussion, brass arrangements, Hammond organ lines, and dancefloor-ready grooves. Drawing from the late 1960s and 1970s club scene, the compilation blends instrumental funk, boogaloo, Latin soul, and breakbeat classics that later became highly regarded among DJs and sample-based producers. Featuring cult favorites such as “Apache” and “Champ,” the album captures the raw energy and crossover appeal of vintage funk and jazz fusion styles.

Organist Shirley Scott's first of three Atlantic LPs was her last recording with her husband, tenor saxophonist Stanley Turrentine, who would soon gain great fame along with a divorce. Although Scott plays well enough and the supporting cast (which includes guitarist Eric Gale) is funky, the material is quite erratic, including Ray Stevens' "Mr. Businessman," "Like a Lover" (which has a rare vocal by the organist), and "Blowin' in the Wind." This collector's item has its interesting moments, but it is one of Shirley Scott's less significant dates.

Compared to his earlier Blue Note recordings, organist Jimmy Smith's outings for Verve are not as strong from a jazz standpoint. Certainly his renditions of the "Theme from Joy House," "The Cat," and the "Main Title from The Carpetbaggers" are not all that significant. However, this set has some tasteful arrangements for the big band by Lalo Schifrin, and some good playing by the great organist on a variety of other blues-oriented material. Also, the combination of organ with a big band is sometimes quite appealing, making this album worth picking up despite its commercial focus.

New Friends is a sophisticated and wide-ranging release from trombonist Fred Wesley, demonstrating the full breadth of his musicianship beyond his celebrated funk legacy. Released in 1990 through Antilles / Minor Music, the album moves comfortably through jazz, soul, blues, and swing traditions while maintaining Wesley’s unmistakable sense of groove and warm brass tone. The repertoire combines standards, reinterpretations, and original compositions, allowing space for both energetic ensemble work and reflective melodic passages. Tracks such as “Rockin' In Rhythm” and “Plenty, Plenty Soul” showcase lively rhythmic drive, while “Blue Monk” and “Birks Works” honor jazz tradition with confident improvisational flair. More expansive pieces like “For The Elders” reveal a thoughtful compositional side, balancing structure with expressive freedom. Throughout the album, Wesley leads with authority and elegance, supported by tasteful arrangements and strong ensemble chemistry. New Friends is an excellent example of an artist bridging funk roots with mature jazz craftsmanship and soulful musical depth.

To Someone is a refined and expressive jazz-soul recording from The Fred Wesley Quartet, showcasing the trombonist’s lyrical sensitivity alongside his deep-rooted funk and jazz background. Released in 1994 on the Solar label, the album leans into a more acoustic and traditional jazz setting compared to Wesley’s funk-heavy collaborations, highlighting his versatility as both a performer and arranger. The session balances mellow interpretations of jazz standards with soulful originals, creating a relaxed yet musically rich atmosphere throughout. Tracks like “Sandu” and “Work Song” pay homage to classic hard bop traditions, while pieces such as “To Someone” and “The North Star” reveal a more introspective and melodic side of the quartet. The ensemble interplay is subtle and tasteful, emphasizing tone, phrasing, and dynamic space rather than high-energy funk grooves. Overall, the album stands as a smooth, thoughtful jazz recording that reflects Wesley’s depth as a musician beyond his more famous funk era contributions.

An overlooked funky gem from Lou Donaldson - a later date for Blue Note, done in a style that's a bit expanded from his small combo sets of the 60s - but still filled with plenty of soul and groove! The lineup features core key players Leon Spencer on Hammond, Melvin Sparks on guitar, and Idris Muhammad on drums - but there's also some added percussion, trumpet from Ed Williams, and a bit of vocals from the group Essence - who slide in with this slinky soul groove that's mighty nice. Lou plays alto sax - both electric and acoustic - and the tunes include the great originals "The Caterpillar" and "Caracas" - plus a sublime remake of Curtis Mayfield's "If There's A Hell Below (We're All Going To Go)", and a sweet take on "I'll Be There".

Tenor and soprano saxophonist Grover Washington, Jr. was faced with an almost impossible task in 1976: following up his two 1975 critically acclaimed and wildly successful commercial recordings Mister Magic and Feels So Good. Both recordings crossed over to R&B on the radio and on the charts. A Secret Place was produced by Creed Taylor and issued on his Kudu imprint, while the versatile David Matthews arranged the horn section. The players include pianist Dave Grusin, drummer Harvey Mason, Ralph MacDonald on percussion, bassist Anthony Jackson, guitarist Eric Gale, trumpeter John Gatchell, and alto saxophonist Gerry Niewood. Guests include bassist George Mraz and guitarist Steve Khan, who appear only on a reading of Herbie Hancock's "Dolphin Dance"…

One of three Donald Byrd albums from 1967 (the end of his hard bop period), this recording features the trumpeter/leader with altoist Sonny Red, tenor saxophonist Hank Mobley, pianist Cedar Walton, bassist Walter Booker, and drummer Billy Higgins. The six tunes (five of which are originals by Byrd or Red) are all quite obscure and to one extent or another quite explorative. One can sense that Byrd wanted to break through the boundaries and rules of hard bop but had not yet decided on his future directions. The music does swing and highlights include "West of the Pecos" and "Beale Street"; Byrd and Red in particular are in excellent form throughout the date.

Proof that at his start, Jimmy Smith had a greatness that knew no bounds - as the album's one of a few that Blue Note recorded in the late 50s, but never issued until many years later - even though they had already released so many amazing records from this period! The set has Jimmy really cooking away - playing live at Small's Paradise, in a group that has Lou Donaldson's alto on just about every track, and tenor from Tina Brooks on most of the others too. Tunes are tighter and shorter than on the more jam session albums, which makes for a nice change.

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.

“Piety Street” by John Scofield is a vibrant and deeply soulful album that blends jazz improvisation with gospel, blues, and New Orleans-inspired funk. Recorded with a stellar ensemble, the album showcases Scofield’s distinctive guitar voice, characterized by its expressive phrasing, rhythmic clarity, and blues-infused tone. The project draws heavily on traditional spiritual and gospel material, reinterpreted through a modern jazz lens that emphasizes groove, emotion, and ensemble interaction. Jon Cleary’s contributions on organ and piano provide a rich harmonic foundation, while George Porter Jr. and the dual drumming setup deliver an authentic New Orleans rhythmic feel. Vocal performances add further depth and authenticity, reinforcing the album’s spiritual undertones. “Piety Street” stands as a powerful fusion of sacred music traditions and contemporary jazz expression, resulting in an uplifting and rhythmically compelling listening experience.