Review: We're big fans of these educational 7"s that often crop up, with a legendary hip hop jam on one side and the source of some its samples appearing on the flip. This time out we get A Tribe Called Quest's deep cut 'Sucka N***a' - which is taken from their legendary Midnight Marauders album - with its buttery rhymes and funky bass buried deep within. Jack Wilkins's 'Red Clay' on the flip isn't that much of a deviation. Though it's slower and free from the rhymes, it is a brilliantly effective and emotive cut. More like this please.
Jackie McLean & Michael Carvin - "De I Comahlee Ah" (extended) (12:22)
Chris McGregor's Brotherhood Of Breath - "MRA" (6:48)
Review: The cult Melodies International label run by Floating Points and Mafalda starts a new series here. Melodies Record Club will find each curated by a different guest DJ or producer with the first one selected by the always on point Kieran Hebden aka Four Tet. He picks some of the tracks he used to spin at the legendary Plastic People and first up is an extended version of 1975 tune 'De I Comahlee Ah' by jazz stars Jackie McLean and Michael Carvin. Chris McGregor's Brotherhood Of Breath takes care of the flip with the big band energy and excellent horn work of 'MRA.'
Review: Thanks to a plethora of pleasing releases from the likes of Nat Birchall and Michael Grossman, 2019 has been a vintage year for Jazzman's "Jazz 45" series. The last volume of the year comes courtesy of Jai Ho, an occasional studio "supergroup" who initially met by accident in the late 1990s. In fact, A-side "Short Story From Tabla, Drums & Trumpet" was recorded in a single day in 1996. The descriptive title is accurate, with squally, effects-laden trumpet solos riding a killer backing track of military style drum breaks, exotic tabla motifs and toasty double bass. The group met again for another studio day in 2003 and recorded B-side "Oye Maia", a wonderfully lucid and languid mixture of attractive Kalimba melodies, drifting trumpet and shuffling Indian instrumentation.
Review: 'Miss Your Life' is a punky new wave track that was originally penned as a poem before evolving into a song. It critiques British apathy, complacency, and a pervasive sense of powerlessness and pessimism that we can all relate to. The song itself serves as a rallying cry to resist and take action before it's too late. The James Taylor Quartet's guitarist Mark, typically known for his more intricate parts, nails the punky intro with precision and the track captures this outfit's defiant spirit and youthful energy while also blending joy and rebellion as they revisit their adolescent years with a powerful message.
Review: Jazz N Palms turn out another of their standout re-edit EPs here and the sixth in the series is no less special than the previous five. As ever, the MO is that the London collective offers tidy revisions of all a wide range of jazz and jazz-funk obscurities. This one kicks off with a Bob James style jam full of instrumental funk and then goes on to the glossy samba rhythms and woodblock hits of 'Santa Ana.' There are more languorous sounds on the stretched out solos of 'El Sabe' then the pace picks up for the energetic shuffles of 'El Sabe.' Last but not least is 'Exotic Flavour,' a freeform cut with wandering bass and steamy sax lines.
Review: Staten Island's The Jazztronauts return to Nu Tone with a smooth cruising single which capitalises on the slick fusion style they do so well. There's a reflective, season-shifting mood to 'This Thing Of Ours' which feels perfectly suited to the time of year, whether it's David Giordano's wistful guitar chops or Josh Glazer and Shawn Rhoades' brass section pealing out over the laconic rhythm. 'When It Hits' on the flip is a more sprightly affair which sees drummer AJ Pantaleo setting a snappy pace and Jesse Blum flexing out on the keys, once again maintaining the buttery smooth style the band are so well loved for.
Review: Jimi Ahlroos's debut release on Jazzaggression is a limited edition album that comes in a reused sleeve with a digital download but none of the musical ideas are rehashed in any way. it's a vital 10" that features three original compositions performed by Jimi's energetic trio which includes Mooses Kuloniemi on drums and Tuomo Purhonen on double bass. Recorded at Pelto Studio in Siuntio during November 2023, the A-side opens with the funky 'Kouvo's Dance' followed by the introspective 'Blues.' The B-side offers the expansive 'Dave Had a Dream,' a heartfelt tribute to David Lynch that has already proven popular at Jimi's gigs.
Review: Salena Jones has been active since the 60s, recording over 40 albums of jazz, soul and easygoing pop in that time. Her rendition of 'Am I The Same Girl' - the soul standard written by industry songwriting string-pullers Eugene Record and Sonny Sanders - lies among the greats of its reinterpreters. While Barbara Acklin's version is most famous, Salena Jones' version is much warmer, and its mention of the instrumental's name, 'Soulful Strut', to the main title should be indication enough from the off that Jones' version carries a far greater buoyancy.
Jorge Ben & Toquinho - "Carolina, Carol Bela" (3:09)
Joao Donato - "A Ra" (2:32)
Review: Jorge Ben is a legendary figure in Brazilian music, often called the James Brown of Brazil, and is famous for writing the iconic anthem 'Mas Que Nada' as well as innovating within the samba sound. Amongst many other great successes, he collaborated with singer and guitarist Toquinho on the duet 'Carolina, Carol Bela' on the Brazilian label RGE. This song was famously sampled by DJ Marky and XRS for their drum and bass track 'LK' which became a global hit and topped the UK charts. Joao Donato is a renowned Brazilian jazz and bossa nova pianist who worked with icons like Tom Jobim, Astrud Gilberto, and Gilberto Gil and his track 'A Ra' appeared on his classic 1973 album Quem e quem, which has since been recognised by Rolling Stone as one of the 100 greatest albums of all time. Both of them are real Latin gems.
Review: Joyce Moreno, a legendary Rio-born artist, is celebrated for her exceptional voice, musicianship, and songwriting. With over 30 albums in a career spanning more than 50 years, she continues to enchant audiences worldwide. Her iconic track 'Aldeia de Ogum,' known for its vibrant jazzy arrangement and rich samba rhythms, became a staple in London's Acid Jazz scene, championed by DJs Patrick Forge and Gilles Peterson. Originally featured on her 1980 LP Feminina and our 1997 Essential Joyce compilation, this beloved song first appeared on 7" through the Brazil 45 series. Rosinha de Valenca, another Rio native, was a revered composer, arranger, and guitarist who collaborated with giants like Baden Powell and Sergio Mendes. Her instrumental rendition of Gershwin's 'Summertime,' from her 1975 LP Um Violao Em Primeiro Plano, shows off her exquisite guitar skills accompanied by lush strings, delivering an emotionally stirring performance. A lot of great history on one 7".
Basil Kirchin & Jack Nathan - "Viva La Tamla Motown" (3:50)
Alan Parker & William Parish - "Main Chance" (3:05)
Review: KPM Music might just be one of the most expansive music libraries out there, boasting a whopping 30,000 exclusive music tracks for licensing. Some of their earliest pieces are being reissued by Measured Mile, the latest of which appears here in the form of a split 7" by four of the label's most treasured contributors. 'Viva La Tamla Motown' helms up the A-side with wonky, laboured drumming and an excitable rock n' rolly guitar and harmonica. 'Main Chance' brings up the B with a more loungeified flutey strutter.
Jorge Ben - "Take It Easy My Brother Charlie" (2:36)
Review: Mr Bongo's Brazil 45s series gets its rock on with two hairy grooves, both of which have enjoyed the sampler's crafty knives over the years. First up, Tom Ze's "Jimmy Renda-se" rolls with an oily sleazy groove that's peppered by a playful lyrical rhythm that transcends language barriers. Ben's "Take It Easy My Brother Charlie" joins the dots between Samba and very light Rock with all the signatures that made Mr Ben the legend he remains to this day with big vocal harmonies and infectious textures of Brazilian percussion.
Review: Mr. Bongo's Brazil.45 continues with a repress of two highly sought-after tracks from earlier in the series, this time from Noriel Vilela and Juca Chaves. On the A-side, Vilela's 1971 cover of Tennessee Ernie Ford's '16 Tons' transforms the classic American folk song into a smooth, samba-infused groove. Vilela's version reimagines the track which was originally released on Copacabana Records, with a deep rhythmic flair. On the B-side, Juca Chaves' 'Take Me Back To Piaui' from 1970 featured on his 1972 album Muito Vivo delivers lush orchestration, velvety vocals and vibrant cuica tones. It's pure escapist bliss.
John Abercrombie & Jack DeJohnette - "Unshielded Desire" (9:39)
Dave Holland - "Jamala" (2:42)
Jack DeJohnette - "Sorcery I" (7:54)
Review: Gateway by John Abercrombie is a captivating journey through the realms of modern jazz fusion, featuring Abercrombie's masterful guitar work alongside Dave Holland's silky-smooth bass and Jack DeJohnette's dynamic drumming. Seamlessly blends traditional and progressive jazz elements, Abercrombie's compositions showcase intricate band interplay, with tracks like 'May Dance' and 'Jamala' highlighting the trio's ability to shape melodies around each other's instrumentation. Holland's bass provides a solid foundation, grounding Abercrombie's exploratory guitar solos, while DeJohnette's drumming adds texture and depth to the ensemble. Abercrombie's experimental approach to guitar sounds, as seen in 'Sorcery 1,' adds a unique dimension to the album, enhancing its dissonant yet accessible nature. Overall, Gateway offers a rewarding listening experience for jazz and music lovers.
Review: Sensory Blending hears Finnish artist Jimi Tenor and Italian group Aura Safari team up for an impromptu studio shebang in Perugia, Italy, after Tenor's storied but clandestine performance at a Hell Yeah party. Despite no prior connection, the musicians quickly found common ground, forging a vivant fusion of jazz-funk, tropicalia and soul. Tenor's psychedelic style gelled Aura Safari's faster, intuited approach, resulting in such tracks as 'Bodily Synesthesia,' 'Bewitched By The Sea' and 'Lunar Wind', each of which connect seductive grooves and ghost noted keys. Possibly performed live at select events later in the year, the record is a perfect storm of recorded "live feel" Balearica.
Review: The Blue Land is Matthieu Bordenave's follow-up to his ECM trio debut and sees the addition of British drummer James Maddren, enhancing the ensemble's airy textural canvas with a more urgent, animated feel. Pianist Florian Weber's improvisations set the tone, displaying inventive tension and release. Bordenave's saxophone weaves a lyrical narrative, punctuated by bassist Moret and Maddren's perceptively timed contributions. The album strikes a delicate balance between tonal and abstract elements, as heard on the ominous title track and the meditative 'Cyrus.' With nods to Coltrane's 'Compassion"'and Jarrett-like piano, the ensemble delivers an intriguing and collectively expressive set of chamber ensemble pieces.
Review: Part of the Original Jazz Classics Series, this 1963 album from the great Kenny Burrell and John Coltrane is now reissued on 180-gram vinyl. Featuring Burrell and Coltrane, along with Tommy Flanagan, Paul Chambers, and Jimmy Cobb, the album comprises five tracks that have been remastered from the original tapes by Kevin Gray at Cohearent Audio. It's an absorbing journey into two genius creative minds and comes comes in a Tip-On Jacket, preserving the essence of the original release while offering enhanced sound quality for contemporary listeners.
Review: The great Alice Coltrane was already widely revered by the time she released her third solo album Ptah, the El Daoud. It was written and recorded in 1970 in the basement of her house in Dix Hills on Long Island, New York and is noted for being the first record she made with horns. They are split between the two channels with Pharoah Sanders on the right bringing his abstract and transcendental sounds and Joe Henderson on the left bringing the intellectual vibe throughout. The post-bop sounds find Coltrane playing piano and harp receptions at the time were warm critically and with fans. The otherworldly sound is drenched in blues and perfect for some mindful meditations.
Review: In the reams of great John Coltrane recordings, this album surely stands of one of the true gems. Originally released in 1963, this collaboration with legendary baritone singer Johnny Hartman captures Coltrane at his mellow best. Alongside the headliners, the line-up on this album also features McCoy Turner on piano, Elvin Jones on drums and Jimmy Garrison on bass, and the result is an understated, sumptuous listen to lose yourself in. Sentimental and melancholic in all the best ways, this is sensitive musicianship at its finest.
Review: Kenny Dorham and Jackie McLean's Inta Somethin' is a vibrant snapshot of their performance at San Francisco's Jazz Workshop in late 1961. Jackie Mac's prowess shines brightly as he delivers a compelling rendition of 'Una Mas' a year prior to its Blue Note release. Backed by Leroy Vinnegar, Walter Bishop and Art Taylor, the ensemble crafts a dynamic and exhilarating atmosphere as McLean's virtuosity is on full display, captivating listeners with his electrifying playing style. Inta Somethin' is proof of the skills of these jazz giants and is a great window into their live repertoire and sense of musical innovation.
Review: This all new EABS meets Jaubi In Search of a Better Tomorrow long player is the result of musical bridges having been formed between Jaubi and the releases on Astigmatic Records and collaborations between musicians from Europe and Asia and EABS members' trips to Pakistan and Poland. It is a world sound with Moogs, bass guitars, grand pianos, Fender Rhodes, clarinets, saxophones and vocals all colliding tradition with new school thinking. Hip-hop elements, improvisation and spiritual jazz and Hindustani ragas all feature in this most cultural and musical melting pots.
Review: A standout 1958-1959 recording by Johnny Hodges, Side by Side marked his continued solo work after taking the bold decision to leave the legendary Duke Ellington Orchestra. This album harks back to the small-group sessions of the 1930s but with a twist as Ellington's absence on several tracks meant Billy Strayhorn stepped in on piano. Joining Hodges are jazz legends like Jo Jones, Roy Eldridge and Harry 'Sweets' Edison, who all add colour to the varied collection, which has been newly remastered for Verve's Acoustic Sounds Series. As a follow-up to 1959's Back to Back: Duke Ellington and Johnny Hodges Play the Blues, it is another gem from the noted alto saxophonist.
Review: Back To Back by Duke Ellington and Johnny Hodges is a captivating collaboration that showcases the immense talent of these two jazz legends. It's a record, now reissued by Verve, that features a seamless interplay between Ellington's sophisticated piano stylings and Hodges' soulful saxophone melodies. From the swinging rhythms to the heartfelt ballads, each track exudes a sense of elegance and charm. Whether it's the lively improvisations or the tender duets, every moment on this record is a testament to the mastery of these jazz icons.
Review: Bill Evans and Jim Hall's Undercurrent is a timeless coming together of two greats that showcases the sublime synergy between piano and guitar. Released in 1962, the album exemplifies understated elegance and musical intimacy. Evans' delicate piano melodies intertwine seamlessly with Hall's lyrical guitar lines, creating a captivating atmosphere of introspection and emotional depth. Tracks like 'My Funny Valentine' and 'I Hear a Rhapsody' epitomize the duo's unparalleled chemistry, while their improvisational prowess shines on every note. Undercurrent then stands as a testament to Evans and Hall's collaborative brilliance, leaving an indelible mark on the landscape of jazz music with its timeless beauty and profound musical expression.
Review: Ella Fitzgerald, the First Lady of Song, and legendary jazz guitarist Joe Pass reunited for their second duet album, Fitzgerald & Pass... Again, originally released in 1976. This collaboration has become a jazz classic, with Fitzgerald winning the 1977 Grammy Award for Best Jazz Vocal Album for her performance. Fitzgerald's impeccable musicianship shines through, showcasing her unparalleled ability to convey the essence of a lyric. Pass complements her perfectly, displaying his virtuosity and strength as an accompanist. The album features four Duke Ellington classics, reimagined versions of 'Tis Autumn' and 'Tennessee Waltz,' and mesmerising wordless performances of 'Rain' and ''One Note Samba.' This 180-gram reissue by Analogue Productions, cut from existing metal parts mastered by Doug Sax from the original analog master tape and pressed at Quality Record Pressings, ensures optimal sound quality. The album is housed in a single pocket Stoughton Printing tip-on jacket.
Review: Jazz collectors - specifically those of you with an obsession with the work of sax legend John Coltrane - perk up your ears. Many among you might not yet be aware of The Cats, a collaborative album recorded in synergy between Coltrane, guitarist Kenny Burrell, trumpeter Idrees Sulieman, and pianist Tommy Flanagan, but we wouldn't blame you, because this was one that flew under the radar on its New Jazz release in 1959. Not least, this might have been because it was released when Coltrane had moved onto more one-off release projects, shortly after his more widely publicized contract with Prestige Records ended. Nonetheless, it's cited as a deeply special album, resonant of the slinky sound of postwar New York jazz inasmuch as it is of the archetypal feline form.
Review: On A New Day, Italian pianist Giovanni Guidi rekindles his enduring musical rapport with Thomas Morgan and Joao Lobo, while expanding the trio's sonic palette by adding American saxophonist James Brandon Lewis, making his ECM debut. Recorded at Studios La Buissonne in Southern France and produced by Manfred Eicher, the album captures an elevated sense of communication and innovation. Lewis's confident, unmistakable tone introduces new dialects and perspectives, enhancing the group's interplay. The quartet navigates fresh instrumental paths with fluidity, inspired by their deep-rooted partnership and heightened collaboration. The result is a dynamic blend of jazz that explores new textures and ideas, showcasing the quartet's cohesive and adventurous spirit. Guidi's piano, Lewis's saxophone, Morgan's double bass, and Lobo's drums come together to create an album that is both reflective and forward-thinking, making A New Day a compelling new listen for Jazz fans.
Review: Moods and Moods Vol. 2, the sequel to the acclaimed Scandinavian piano trio album Moods, is now available worldwide on double vinyl and featuring renowned bassist Jesper Bodilsen, drummer Morten Lund and pianist Henrik Gunde. This magnificent record captures the artistry and elegance that have made these musicians standout in Scandinavian jazz. With each note and stroke through the course of this album, the skilled trio creates a mesmerising jazz sounds that is distinctive to lovers of Scandinavian stylings and full of expressive piano.
Review: Two Johns unite: griot and kora master John Haycock, hailing from Manchester, and fellow multi-instrumentalist John Ellis, team up for the spiritual-visionary album 'Didymus'. Enlisting a ragtag band of musicians to produce something far beyond what the average folk artist can make on their own, the album centres on a single mantra: 'visions create'. The aim is to sonically chart a roadmap towards a bright future, a feat that seems impossible: the means are sequenced electronic, dub-psychs flourishings, solstice chants, and poetry from a band of wordsmiths such as Rob Dunford and Sunflower Bill.
Review: Swiss label Delta Production originally released J&F Quintet's Contrast album back in 1976. It has since become a highly collectible and rare Swiss jazz gem with mint copies going for upwards of L350. For the recording sessions, founding band members Stefan Schneller, Donat Beer and Toni Scha?dler were joined by drummers Gieri Bievi and Peter 'Huck' Hug and bassist Andri A Piorta. Their take on jazz fuses Swiss-Romansh traditions to cook up something in a sound world of its own. Sadly this was the only album the group ever recorded before going off to work on solo projects.
Review: Most people will recognize Brian Jackson as the most important collaborator with Gil Scott-Heron - between them the pair laid down a mesmerising new kind of soul which resonates in its influence and brilliance to this day. Jackson went on to work with scores of legends of Black American music, but this new album is something altogether his own. Working with Daniel Colias from Phenomenal Handclap Band, Jackson revived a long-dormant solo project from the 70s and brought it to fruition in a set of ascendant soul cuts which speak to Jackson's mighty legacy while offering something wholly contemporary. 'All Talk' bursts with jazz funk and boogie flourishes, while 'Path to Macondo / Those Kind of Blues' takes a more introspective trip into Jackson's illustrious musicality. Forget reissue culture for a minute - here's a bonafide legend still doing it in the here and now.
Review: The much loved and always essential Jazz Is Dead series hits instalment number eight here. The project was only conceived in 2020 by musicians and producers Adrian Younge and Ali Shaheed Muhammad and aims to work with jazz legends on new material. This time it is Gil-Scott Heron's famous partner Brain Jackson in the spotlight. There are plenty of languid grooves that float on airy drumming with acoustic piano and electric bass also weaved in. Afro-Cuban flavours colour closeR 'Ethiopian Sunshower,' which is the most sedate of the lot.
Review: This 1961 collaboration between vibraphonist Milt Jackson and saxophonist John Coltrane captures a moment of perfect synergy between two jazz giants. The mix of Jackson's melodic vibraphone and Coltrane's improvisational saxophone gives tracks like 'Bags & Trane' and 'Three Little Words' a deep, infectious groove. The interplay between the ensembleifeaturing Hank Jones on piano and Paul Chambers on bassicreates a tight, flowing rhythm that effortlessly swings. 'Blues Legacy' pays homage to the blues tradition while 'The Night We Called It A Day' reveals the group's sensitivity, with each solo capturing a different facet of emotion. This release is a remarkable reflection of their collaborative genius.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Bags & Trane (9:59)
Three Litle Words (10:07)
The Night We Called It A Day (5:50)
Be-bop (10:47)
The Late Late Blues (12:56)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
This 1961 collaboration between vibraphonist Milt Jackson and saxophonist John Coltrane captures a moment of perfect synergy between two jazz giants. The mix of Jackson's melodic vibraphone and Coltrane's improvisational saxophone gives tracks like 'Bags & Trane' and 'Three Little Words' a deep, infectious groove. The interplay between the ensembleifeaturing Hank Jones on piano and Paul Chambers on bassicreates a tight, flowing rhythm that effortlessly swings. 'Blues Legacy' pays homage to the blues tradition while 'The Night We Called It A Day' reveals the group's sensitivity, with each solo capturing a different facet of emotion. This release is a remarkable reflection of their collaborative genius.
Review: This is a perfectly obscure record of lush Brazilian jazz that can be either a perfect entry point into this sound or yet another fine piece for the collection of veterans. It is the first ever record of Jaime Alem and Nair De Candia, both of whom sing on it, and has a super cool jazzy feel, with high class and luxurious stings, Latin percussive patterns and a steamy warm atmosphere. Reminiscent of all your favourites but also with a style that is uniquely theirs, this is a cult classic packed with gems like 'A Bica De Chororo' and 'Olhos Para Sao Paulo'.
Review: Self-styled 'jazz detetcive' Zev Feldman heralds a new series entitled Deep Digs Music with this collaboration with Elemental Music, releasing a never before heard performance from Ahmad Jamal live in Seattle in the early 60s. This official reissue has been overseen by Jamal himself, carefully restored from original tape reels and remastered to ensure the finest fidelity for your listening pleasure. The release comes with extensive new photos, essays from Eugene Holley Jr and Zev Feldman and interviews with Jamal and others.
Review: Picking up the thread from volume one, Elemental Music and Zev Feldman's Deep Digs Music team up to present another selection of incredible live recordings of jazz icon Ahmad Jamal. These sessions were recorded between 1965 and 1966 at The Penthouse in Seattle. The original audio has been transferred from the master tape reels, with Jamal himself lending his oversight and insight in the form of an interview. Along with the first volume from prior years, this serves as a wonderful document of Jamal's unerring talent at the peak of his musical powers.
Review: James Taylor is a stone cold legend in the acid jazz and jazz funk scene. Here working with his quartet once again, he returns with superb new album that proves his credentials beyond doubt. Man in the Hot Seat is a giant record with a giant sound that is speed in big walls of sound and effortless melodic funk. The fullness of the tune sis utterly imposing with hints of classic film soundtracks and big band energy. Real musicianship and production mastery add to the greatnesses of this, which might be one of JTQ's finest.
Review: Originally released in 1993, this special edition enhances The James Taylor Quartet's legacy with remastered tracks and bonus material. Known for its infectious grooves, soulful melodies and catchy Hammond organ riffs, it captures the energy of London's 90s jazz scene and then some. Featuring standout tracks like 'Love Will Keep Us Together,' the album seamlessly blends jazz, funk and soul and this reissue reaffirms its timeless appeal by introducing new generations to its dynamic sound while offering nostalgia for longtime fans. A cornerstone of modern jazz-funk brilliance.
Review: Bob James is a giant of the jazz-funk world who has crafted endless amounts of seminal and sublime sounds. He has also been remixed and sampled by an equally infinite number of artists from the hip-hop world over the years and so remains of real relevance even without having to release anything new. However, Jazz Hands is just that - a brand new album that reminds the world he has still got the skills to pay the bills. With help from contemporaries like Jee-Lo Green and Dave Koz he offers up his latest jazz-funk fusions and they sound as good as ever.
Review: Double Vision is a sonnet cold classic and 1986 Grammy-winning platinum album by saxophonist David Sanborn and legendary pianist Bob James. The album stands tall as a cornerstone of contemporary jazz, proven by picking up the Best Jazz Fusion Performance, Vocal or Instrumental Grammy. It features an impressive lineup of talents in Marcus Miller (bass), Steve Gadd (drums), Paul Jackson Jr. (guitar), Al Jarreau (vocals), Paulinho Da Costa (percussion), and Eric Gale (guitar). Produced by Tommy LiPuma, the album includes the hit 'Maputo,' which became a jazz standard and now has over 20 million streams. This reissue comes on 180g transparent red vinyl with high-dynamic mastering.
Review: American composer Harry James hails from the southside of Chicago and is known for self-recording acoustic piano and percussion using analogue tools and techniques. His latest long player Off The Record is another one made on Tascam 4 Track and is full of warmth and familiar feelings. It is couched in jazz and broken beat stylings but very much colours outside the usual lines in terms of both sound and technique. It's raw, busy, off-the-cuff and full of life, with his friends Gerald Bailey, Rob Frye, Keefe Jackson and Dave McDonnell also featuring.
Review: 'Merry Christmas From Jose James' is as warming a festive soundtrack as you could wish to hear. The US soul and jazz singer has a signature smoky depth to his voice that is perfect for this sort of seasonal album and so it proves. It showcases James's versatile style as he infuses classic Christmas tunes with a contemporary and personal touch. Known for his ability to transcend genres, James delivers a perfect holiday collection that combines jazz, r&Bb and soul elements to create a festive atmosphere with a distinctive flair.
Review: Al Jarreau made an electrifying debut in Washington, D.C in 1976 and Wow! Live in Performance at the Childe Harold captures the passionate and powerful showcase of the legendary singer's artistry. Originally recorded for WHFS radio and unreleased for nearly 50 years, this performance is finally available as a limited-edition 180g double vinyl set that has been mastered all-analogue by Matthew Lutthans at The Mastering Lab. It includes liner notes by A. Scott Galloway and essays from Richard Harrington plus interviews with artists inspired by Jarreau. It's a stunning jazz masterclass from one of the greats.
Review: Keith Jarrett's 2016 European tour has already been subject to one vinyl release (Munich 2016 ) and now ECM capture another of the nights on wax. This sumptuous double album documents the pianist's solo performance at Budapest's Bela Bartok National Concert Hall, which the artist is said to have considered something of a homecoming. Comprised of suite-like structures, which are themselves made up of independent "movements", the album is a marvel of spontaneity and resourcefulness. It brims with creative energy and complex abstractions as well as more striped back and soothing pieces.
Review: Pianist and composer Keith Jarrett's fame stems in large part from his many solo piano improvisations, performed regularly since the early 1970s. Solo Concerts: Bremen/Lausanne is a recording of two such concerts, held in Germany and Switzerland in 1973; originally released as a 3xLP by ECM Records, it now comes reissued and remastered via ECM. This live compilation flaunts Jarrett's emotional range, spanning everything from lyrical melodies to dissonant clusters, from rhythmic grooves to abstract soundscapes. The album was a critical and commercial success, winning the DownBeat award for the best jazz recording of the year in 1974, and establishing Jarrett as a leading figure in the solo piano genre.
Review: A Sound Heart by Jaubi is a profound and stunning album that delves into the realms of spiritual jazz-fusion and psychedelic Hindustani classical music. Building on their critically acclaimed debut, the collective creates a mesmerising tapestry of sound that is both sonically rich and spiritually profound. The album's title, inspired by a verse from the Holy Qu'ran, sets the tone for a deeply introspective and heartfelt journey. Through a blend of meditative ragas, Herbie Hancockesque motifs and contemporary melodies, Jaubi crafts a masterpiece that transcends genres and cultural boundaries. Each track offers exceptional musicianship and their ability to create music that is not only beautiful but also spiritually uplifting. A Sound Heart is a true gem that showcases Jaubi's unique blend of traditional and modern influences.
Review: The Jazz Crusaders' Freedom Sound blends hard bop and soul-jazz in a way that feels both fresh and timeless. The band delivers a tight, energetic performance, with each member adding their distinct touch to the album's punchy grooves. The horns are sharp and emotive, while the rhythm section locks in with precision, creating a perfect backdrop for the solos. Tracks like 'The Thrust' showcase their ability to seamlessly merge complexity with accessibility, making this a standout album that defines their early sound. It's a work that thrives on its energy and bold experimentation.
Review: While rooted in the quintessential sound of the late 1950s and early 1960s, UK jazz ensemble The Jazz Defenders explore fresh territory while honouring their jazz heritage on their third album, Memory In Motion. Tracks like 'Chasing Fantasies' and 'Fuffle Kerfuffle' showcase their swing jazz finesse, while 'Meanderthal' and 'Snakebite Playfight' infuse soulful grooves akin to 1960s jazz legends. Collaborations with UK rapper Doc Brown on 'Rolling On A High' and the uptempo funk of 'Net Zero' add modern flair, while introspective moments like 'Take A Minute' and the closing 'Enigma' offer a serene balance. Memory In Motion celebrates jazz's legacy and innovation, blending tradition with contemporary influences for an immersive listening experience.
Review: Jazz Sabbath's long-lost 1968 recordings finally see the light of day, marking a pivotal moment in their turbulent history. Unveiling their most experimental work to date, this release brings closure to a story of missed opportunities and stolen glory. Known for shaking up the UK jazz scene, their sound was ahead of its time, with the original label deeming it "too experimental" for the mainstream. Yet, these tracks were not forgottenithey were hijacked, rebranded, and repurposed by another Birmingham band that went on to global fame. Despite the plagiarism, the crude renditions only highlighted the strength of Jazz Sabbath's compositions. Now, with the original tapes mastered and restored, listeners can finally experience the raw brilliance that was meant to change the jazz world. It's a bittersweet triumph, proving that record labels don't always know best. This release offers vindication, as Jazz Sabbath's true legacy is finally heard, showcasing their innovative spirit and undeniable influence on music history.
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