Back catalogue:

Review: Pharoah Sanders recorded Thembi in the winter of 1970-71, amid sessions with Alice Coltrane that would culminate in her seminal Journey In Satchidananda album. The same profound spirituality that imbued Coltrane's masterpiece with an aura of serene majesty also permeates Thembi. One of the standout tracks, 'Astral Traveling,' originated from a serendipitous encounter with a Fender Rhodes electric piano. Upon arriving at the California studio, while his bandmates set up their instruments, Sanders noticed the piano and, driven by curiosity, began experimenting with its sounds. This track, with its ethereal quality and innovative use of the electric piano, captures the exploratory spirit and transcendent quality that define Thembi, making it a cornerstone of Sanders' discography and the blueprint to the serendipitous magic of musical experimentation. Thembi offers something very unique for the time in jazz music.

Review: Finally reissued for its 50th anniversary, Love In Us All is a cosmic, uncompromising statement from legendary jazz cat Pharoah Sanders. This vital piece of the free jazz canon was released as his final Impulse! album and starts with 'Love Is Everywhere' which radiates transcendent beauty with layered horns, cascading piano and a repeated vocal mantra evoking the spirit of Coltrane's seminal 'A Love Supreme'. The flip, For John' is raw, chaotic and a furious outpouring of free jazz energy. Long out of print but here remastered, this essential release showcases Sanders' vision in its most fearless, spiritual form.

Review: An uncompromising statement in the landscape of free jazz and released in 1968, the album's title track is an 18-minute tour de force. A relentless exorcism of sound driven by Shepp's feverish tenor sax and an army of percussionists, including Beaver Harris, Norman Connor, Ed Blackwell, Frank Charles and Dennis Charles. The piece never loses momentum, a hypnotic Afro-rhythmic foundation over which Shepp's saxophone howls, growls and shrieks with raw, untamed fury. The arrival of Martin Banks and Michael Zwerin's trumpets in the final minutes momentarily grounds the chaos before it collapses in exhaustion. The additional tracks take a more traditional approach, contrasting the firestorm of the title piece. Yet, Magic of Ju-Ju remains a defining moment in Shepp's career, marking his transition into deeper explorations of African heritage, gospel, blues and contemporary r&b. The album's title, drawn from Vietnam-era GI slang, hints at Shepp's engagement with the social and political turbulence of the time. Reissued as part of the Verve By Request series on 180-gram vinyl, this is a vital milestone in Shepp's radical, boundary-pushing career.

Review: Nina Simone's 1964 album stands as a powerful testament to her unwavering support for the Civil Rights movement, marking one of her most personal and impactful releases during her time with Philips Records. The album captures Simone at her most fervent and fearless, channeling her artistry into a profound expression of social consciousness. Unlike some of her other works, where orchestration sometimes overshadowed her voice, this gem benefits from a minimalistic yet vibrant jazz quartet, which perfectly complements her bold vocal delivery. Tracks like 'Old Jim Crow,' 'Pirate Jenny,' 'Go Limp,' and the titular 'Mississippi Goddam' emerge as potent declarations of African-American pride and resistance, making this album a landmark in the intersection of music and activism. Simone also revisits more traditional material with grace, including her timeless rendition of 'I Loves You, Porgy' and the soulful 'Don't Smoke in Bed.' Verve's Acoustic Sounds series honors this historic album with a meticulously crafted vinyl reissue. Mastered from the original analog tapes and pressed on 180-gram vinyl, the album is packaged in a deluxe gatefold sleeve, offering an audiophile experience that preserves the integrity of Simone's revolutionary work.

Review: ***B-STOCK: Record slightly warped***


The sixth full-length from the incomparable Nina Simone was originally released in 1966 via Phillips Records, and was predominantly comprised of several recordings left over from sessions over the two previous years. Considered by many to be the jazz/soul goddess' most seminal work; the album features some of her most timeless renditions and contributions such as 'Lilac Wine' (later covered by Jeff Buckley), 'Wild Is The Wind' (covered by David Bowie), her definitive version of 'Black Is The Color Of My True Love's Hair', as well as the somewhat controversial 'Four Women', which was banned by New York jazz radio station WLIB due to their ironic misinterpreting of her skewing of black female stereotypes as racist.

Review: Jimmy Smith's Root Down, recorded live in 1972, captures the Hammond B-3 legend at his funkiest, with a band fired up by the era's rock and funk influences. This album brims with energy, particularly on the title track, later sampled by the Beastie Boys for their own classic. Now part of Verve's Acoustic Sounds Series, Root Down returns on 180-gram vinyl, remastered from the original analogue tapes, complete with deluxe gatefold packaging. A timeless slice of soulful jazz, made for vinyl lovers and collectors alike.

Review: Jimmy Smith's The Cat, released in 1964, showcases his incredible command of the Hammond B-3, paired with lush big band arrangements by Lalo Schifrin. This album, which reached No. 12 on the Billboard 200, brings together blues-infused tracks that capture Smith's unique flair and groundbreaking style. Now part of Verve's Acoustic Sounds Series, The Cat is available on 180-gram vinyl, remastered from original analog tapes and presented in a deluxe gatefold. A classic reissue that celebrates the genius of one of jazz's most innovative organists.

Review: The Acoustic Sounds Series from Verve/Universal Music Enterprises reissues iconic jazz records, offering audiophile-grade versions of these historic works. One standout release is Sonny Stitt's Blows The Blues. Originally recorded in 1959 and released in 1970, this album features Stitt on alto sax, accompanied by pianist Lou Levy, bassist Leroy Vinnegar, and drummer Mel Lewis. Stitt, often unfairly compared to Charlie Parker, demonstrates his unique voice and exceptional talent on this record, especially on originals like 'Hymnal Blues' and 'Morning After Blues.' This reissue is meticulously mastered by Bernie Grundman from the original analogue tapes, ensuring the highest sound quality.c.