Review: Fans of this one have long been waiting for a reissue and it is now finally here. It's a soundtrack to the movie Marusa no Onna which was directed by Juzo Itami and was set in the National Tax Bureau Inspection Department. The film's main theme marks the start of the album with its epic sax melody. It really shows off Toshiyuki Honda's impressive sound and kicks off an immersive and evocative record that was first released back in 1987 and has been a real digger's delight ever since.
Review: Detroit techno innovator Robert Hood and Afro beat king Femi Kuti is not a pairing we thought we would see but it is one we are glad we have. They join forces on the former's M Plant label for this superb collision of musical worlds. It is unified by Afro beats and a unique mix of futuristic ideals with Femi's improvised jazz sax leading the way over Hood's cosmic synth sounds. The album was recorded in just one 30 plus minute take which is all the more of a testament to each artists's abilities. Femi's exquisitely free-flowing playing and Hoods signature grooves are perfectly intertwined in this great coming together of two avant art forms.
Review: Originally recorded live at the New York Jazz Museum in 1977, this newly mastered version of a classic form William Hooker captures a vital, previously unheard performance from three titans of free jazz. They are eponymous drummer William Hooker, tenor saxophonist David S. Ware and alto saxophonist Alan Braufman and this session brims with raw, unfiltered energy that taps into a pivotal moment in each artist's career. Hooker's percussive invention, Ware's searing intensity and Braufman's loft-era vision combine in a spellbinding document of New York's avant-garde scene and form what is a crucial artefact from jazz's fearless frontier of the time.
Review: Horace Parlan struck out in style as a bandleader in 1960 with a swathe of albums for Blue Note, amongst which was this dazzling display with his quintet. Parlan was notable as a pianist with a handicap in his hand which gave his playing a distinct cadence, and it certainly never held him back. With Tommy and Stanley Turrentine on trumpet and tenor sax respectively, George Tucker on bass and Al Harewood on drums, Speaking' My Piece' breezes through six light and mellow pieces, faithfully repressed by one of the most important labels in all of jazz history.
Review: It was 10 years into his career that Horace Silver made this album - the one that many regard as one of his very best - at the famous Van Gelder Studio with Blue Mitchell, Junior Cook, Gene Taylor, and Roy Brooks. It captured his quintet's transition and came a year ahed of another recording session that gave rise to his definitive hit, 'Song For My Father', which is also included as a tribute to his father, who was of Cape Verdean heritage. This Blue Note Classic Vinyl Edition is an all analogue affair that has been remastered by Kevin Gray from the original master tapes, so sounds superb.
Review: Blue Note first delivered Horace Silver's Silver Serenade in 1964, adding yet once more to their precious collection of sonorous soul jazz metals. With Blue Mitchell on trumpet, Junior Cook on tenor saxophone, Gene Taylor on bass, and Roy Brooks on drums, the natural scarcity of this serenade is a cultivated one, not spooned; Silver's naturalistic trumpet sounds carpal and easy, dancing brightly against clear, impeccably recorded contrapuntal movements by Brooks and Taylor.
Review: Accomplished American jazz pianist Horace Tapscott recorded a seminal album with his quintet in 1969 The Giant Is Awakened. A follow-up album was recorded but never released, locked away in the Flying Dutchman archives until today. This three-track avant-garde session features the same players from The Giant Is Awakened - Arthur Blythe on alto sax, Everett Brown Jr on drums and David Bryant and Walter Savage Jr on bass. It wasn't long after this Tapscott retreated from the mainstream music industry to record in a low key fashion and eventually establish the Pan-Afrikan People's Arkestra, but The Quintet captures a special moment in time never heard before a dream come true for Tapscott fans and jazz lovers of all stripes.
Review: The classic album Mr. Wonderful by Japanese jazz vocalist Ayako Hosokawa has been reissued here on nice heavyweight vinyl and it includes a booklet with further context from Sony. Hosokawa has long delighted fans with her soulful renditions of jazz standards and this album was originally recorded in 1982 with her rich, emotive voice paired with impeccable instrumentation bringing timeless tracks like 'Mr. Wonderful' to life. Hosokawa has expressive phrasing and a delicate balance of warmth and precision that creates a sublime jazz sound that's both intimate and sophisticated.
Review: New Orleans brass band fixture The Hot 8 Brass Band unveil their latest record, in memory of Bennie Pete aka. "Big Tuba", the late co-founder and sousaphone player of the band. Having passed away on September 6, 2021, Pete was described as a "constant galvanising force", and this galvanic power is heard on full display here, as the top brass of the band are heard to collierly collude with many a New Orleands folk and hip-hop legend. Chief among the Hot 8's best characteristics are their incorporation of New Orleans bounce music (a local variation of hip-hop) into their brass-driven tracks and live shows; the sense of bustle, bombast and crowd commotion is heard here, reflecting the extent of the lives touched by Pete.
Review: Released in 1971, this experimental jazz album stands as a defining moment in Noah Howard's career, capturing his vision of music as a "sound painting." A blend of free jazz and Dutch improvisation, the album features Howard's alto saxophone alongside an eclectic mix of musicians, including Misha Mengelberg (piano), Han Bennink (drums) and Earl Freeman (bass). The album opens with a disorienting space duet between conga and electric guitar, setting the stage for a primal and intense exploration of sound. As the musicians join in, the music evolves into a fierce clash of American free jazz and European avant-garde, where rhythmic energy and dissonant piano clusters intersect with Howard's lyrical yet passionate saxophone lines. The album's complex interplay of structure and improvisation reveals Howard's quest for originality, influenced by jazz legends but never imitative. It showcases his belief in the spiritual essence of jazz, channeling cosmic energy through his compositions. Despite challenges, such as guitarist Jaap Schoonhoven's discomfort, the session results in a high-energy fusion, full of vivid contrasts and sonic exploration. This work remains a powerful, enigmatic piece in Howard's catalogue, illustrating his distinct, boundary-pushing approach to jazz.
Review: Released in 1964, groundbreaking hard bop classic Breaking Point! marked a departure for trumpet legend Freddie Hubbard. Having established himself with The Jazz Messengers, this album showed him breaking out as a player with some daring and expressive playing that went full tilt into modal sequences and rapid fire notes that shook up the state of play and showed new possibilities for jazz as the 60s progressed. In its position between wild experimentation and tradition, it retains musical form which makes the edgier angles go down very smoothly indeed. You can see why this would be a candidate for Decca's Tone Poet series - Hubbard's expression has rarely been matched, in composition or execution.
Review: Blue Note's Tone Poet series is about reissuing some of the most notable label in its back catalogue on high-quality vinyl with all new mastering jobs. Next up is Freddie Hubbard's Blue Spirits, which was his label debut back in 1950 and saw the prodigious trumpeter kick off what was an astonishing run of records. He was joined by a wealth of talents such as James Spaulding on alto saxophone and flute, Joe Henderson on tenor, Kiane Zawadi on euphonium and Clifford Jarvis on drums, and Big Black on congas. Between them, they provide a rich textured album full of dynamic horns and evocative originals.
Review: Freddie Hubbard's 1973 release showcases his exceptional trumpet skills, blending jazz fusion with funk elements. The album features Hubbard's compositions, including 'Brigitte' and 'Spirits of Trane,' performed by a talented ensemble. Critics have praised the album for its innovative approach and Hubbard's dynamic performance; this work being a significant contribution to Hubbard's discography and the jazz genre.
Review: Freddie Hubbard's final release for Impulse was The Body & The Soul, an album he released in 1963 and that features both an all-star septet and a string orchestra. Hubbard originals feature and showcase notable musicians such as Curtis Fuller on trombone, Wayne Shorter on tenor saxophone, Eric Dolphy on alto saxophone, Cedar Walton on piano, Reggie Workman on bass and Louis Hayes on drums. This release stands out in Hubbard's fine discography and highlights Wayne Shorter's exceptional arranging skills, all now pressed up to 180-gram vinyl at Third Man in Detroit.
Review: Recorded in 1962, this album captures Hubbard at the peak of his powers, his fiery trumpet soaring alongside a stellar lineup that includes Wayne Shorter, Cedar Walton, Reggie Workman and Philly Joe Jones. From the explosive opener, 'Philly Mignon', to the tender beauty of 'Body and Soul', the album showcases Hubbard's versatility and masterful command of the trumpet. This all analogue reissue, mastered by Kevin Gray from the original master tapes, really captures the energy and intimacy of this classic session.
Review: Jazz vocalist Helen Humes is not as well known as some of her peers, but that isn't for lack of talent. This was her second album on Contemporary Records and it came in 1961 as a fully realised exhibition of her vocal versatility and charm. Conducted by Marty Paich, the record features an all-star lineup including saxman Art Pepper, bass from Leroy Vinnegar, drums by Shelly Manne and guitar from Barney Kessel. This reissue has been meticulously crafted with AAA lacquers cut from the original master tapes by Bernie Grundman so is an authentic representation of the original magical sound with unmatched fidelity.
Review: American Bobbi Humphrey is one of the most well loved jazz flautists. She turned out plenty of vibrant albums, none less so than this, Fancy Dancer, which was her fifth. It came on Blue Note in 1975 and is full of all killer no filler gold. It also saw her, along with producers the Mizell Brothers aka Larry and Fonce, come up with a fresh new largely instrumental funk sound. Weaving in everything from world music to soul-jazz to club music to pop, it's a widescreen sound that is packed with uplifting flute from Humphrey and lush production that reveals something new with each listen.
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