Germany's Mojo club has defined dancefloor jazz in excellent fashion on their long-running series of compilations, culled from the tracks dancers have heard at one of the best places to experience groove music since the heyday of Northern soul. An extension of the Gilles Peterson aesthetic, dancefloor jazz finds equal space for all manner of groove-based artists -- Mark Murphy, Jimmy Smith, Chakachas, James Brown, Brian Auger, and Marcos Valle. And volume number six (long title: Mojo Club Presents Dancefloor Jazz, Vol. 6: Summer in the City) is one of the best introductions to the form, jam-packed as it is with frenetically paced (and played) Brazilian pop, loose and easy soundtrack funk, amped-up jazz fusion, a few excellent covers of familiar material, and myriad experiments in sound -- all with the necessary groove to them. Some of the better-anthologized include the unknown disco monster that is Peter Herbolzheimer's "Feedback Brother," the lone foray into pop music by musique concrète pioneer Pierre Henry (the gratingly delicious "Psyche Rock," familiar to Futurama fans as the source of that show's theme), an ace cover of Sly Stone's "Thank You (Falettinme Be Mice Elf Agin)" by Hearts of Stone, and Baden Powell's closing "Blues a Volente," nine minutes of the master's Carnaval-guitar flair set to a high-stepping samba beat.
AllMusic Review by John Bush