It took about five years for Ace to get from the fourth volume to the fifth one in its Return of Mod Jazz series, but this 2005 compilation upholds the high standards set by its predecessors. The two-dozen tracks represent '60s jazz at its most accessible and dance-oriented, often (though not always) emphasizing groovy organ parts and swinging piano, and mixing instrumentals with some vocal numbers. It's not the kind of stuff they'll teach in jazz history courses, but as for fun modern jazz with a liberal does of blues, ...
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It took about five years for Ace to get from the fourth volume to the fifth one in its Return of Mod Jazz series, but this 2005 compilation upholds the high standards set by its predecessors. The two-dozen tracks represent '60s jazz at its most accessible and dance-oriented, often (though not always) emphasizing groovy organ parts and swinging piano, and mixing instrumentals with some vocal numbers. It's not the kind of stuff they'll teach in jazz history courses, but as for fun modern jazz with a liberal does of blues, soul, and pop influences, it's hard to beat. As per Ace's formula, although a bunch of the names are well known (Gene McDaniels, Timmy Thomas, George Benson, Mongo Santamaria, Bill Doggett, Johnny Otis, Pucho & His Latin Soul Brothers, and Oscar Brown, Jr.), none of the tracks selected by these artists are overly familiar. As for the rest of the cuts (save Mose Allison's "I Love the Life I Live"), it's doubtful that many outside hardcore collectors of this stuff have heard them. That doesn't mean, however, that the numbers by the relative unknowns are inferior, and in fact, some of them rate among the disc's highlights. Googie Rene Combo's "Wild Bird," offers some ultra-tense, ultra-tight spooky choked organ; Kenny Rice & Leo's Five's "Hold It" has some real hot organ/R&B guitar interplay; and the Dave Davani Four's "Top of the Pops" can't fail to evoke the most jazz-oriented side of mid-'60s mod Swinging London. Of the other sides, Timmy Thomas' "Have Some Boogaloo," which predates his famous soul hit "Why Can't We Live Together" by a good five years, is a near-instrumental with garage jazz (if such a term exists) organ that shows a much different side of his music. ~ Richie Unterberger, Rovi
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