Although a fourth Aynsley Dunbar Retaliation album (Remains to Be Heard) would be cobbled together from outtakes and recordings done without Dunbar, their third LP, To Mum, From Aynsley and the Boys, was truly the final proper full-length release by the original group. Dunbar had expressed some interest in moving further afield from the blues-rock format around the time the record was done, and the addition of keyboardist Tommy Eyre (from the Grease Band) to the lineup was one step in that direction. The enlistment of John Mayall as producer was perhaps another step in attempting to refine their sound. Still, much of To Mum, From Aynsley and the Boys is pretty standard late-'60s British blues-rock, in line with the previous two albums by the band. Eyre does inject some of the arrangements with a jazzy, more R&B feel, particularly on "Leaving Right Away" and the instrumental "Unheard," the latter of which sounds like a rock band trying to do modern jazz and finding themselves a bit out of their depth.
Hungarian-born guitarist Attila Zoller was perhaps the least-known guitarist in jazz to the general public. His 50-year-long career, which ended with his death in January of 1998, was filled with professional heights and the wide acclaim of his peers and bandmates, who included at various times: Joe Zawinul (back in Budapest), Lee Konitz, Red Norvo, Benny Goodman, Ron Carter, Tal Farlow, Herbie Mann, Herbie Hancock (who is the pianist on the this date), and others too numerous to mention here. This set is comprised of two dates, both of them recorded in 1970. Hancock plays both acoustic and electric piano.
For the Funk of It is the second thematically focused volume in Blue Note's Original Jam Master Series that draws from guitarist Grant Green's late-period recordings for the label, from 1969 to 1972. Some of the players involved in these sessions include drummer Idris Muhammad, saxophonist Claude Bartee, Jr., Cornell Dupree (rhythm guitar), percussionists Hall Bobby Porter and Ray Armando, bassist Chuck Rainey, organist Emanuel Riggins, and many others. The material here is less bombastic than the soul and funk covers on Green's Ain't It Funky Now!, but they are still deep in the jukebox soul-jazz groove that was rapidly disappearing during the era.