Back catalogue: All genres

Review: Kalita Records are proud and honoured to announce the first ever official reissue of the four choice tracks from Randolph Baker's privately pressed sought-after 1982 disco album 'Reaching For The Stars', plus an unreleased instrumental take of 'Party Life' sourced from the original 24-track analogue master tapes.

Originally recorded at Jim Morris and Rick Miller's Tampa-based Morrisound Studios, 'Getting Next To You' features both a mixture of both local Florida talent plus jazz superstar Nat Adderley and bassist John Lamb at their finest. Originally pressed in a limited run of just one-thousand copies, with no distribution and most copies being sold in the local city and on Randolph's own merchandise table at the back of live gigs, original copies have long been sought-after by both collectors and DJs alike, acknowledged as a true grail and masterpiece in the disco scene and deservedly demanding extortionate figures to those lucky enough to find their own.

Here, in collaboration with Randolph, Kalita Records have chosen to re-release the four choice tracks from the album: 'Getting Next To You', 'Jazzman', 'Callin' Me' and 'Party Life'. The former is an in-demand horn and chant-filled disco masterpiece, which, as Randolph explains, concerns unity and "everyone on the same level in other words, everyone just loving life". It is arguably the song that Randolph is most well-known for in the disco and funk scene and perfect for the modern discerning dance floor. 'Jazzman' is an instrumental track with prominent trumpet and saxophone solos working with funky basslines to produce a truly great jazz-funk groove. It was "a tribute to Nat Adderley and Duke Ellington's bass player, John Lamb, for being so generous and saying yes to the project". 'Callin' Me' is a soulful disco number featuring the lead vocals of Laurie Erickson and is "about being on the road and ensuring loved ones that you will always come back home no matter what. It was like a promise to ensure loved ones they didn't have to worry". Lastly, 'Party Life' is a joyous disco track with a strong funk bassline and horns. As Randolph recalls, it "was the joy like after an actor finishes a movie. There was nothing but joy. It's finished; let's celebrate big time. Where everyone in the studio yelled at the top of their lungs - The End!" Here, with access to the 24-track master tapes we have been able to include the original version plus an unreleased instrumental take, allowing us to focus on the infectious bassline and make it even more ready for the modern dance floor.

Accompanied by extensive interview-based liner notes and never-before-seen photos.

Review: ,Joe Bataan has been busy in East L.A. with Orquesta Rene for this new Latin jazz double 7" courtesy of Steady Beat. It features four all new pieces drenched in soul and percussion, starting with 'So Fine' (feat Big Sandy), a mid tempo groove with vocal longing and languid horns. 'Mestizo' is a more steamy and intimate piece with sung-spoken lyrics and glowing, golden chords. 'Mom & Dad' (feat Claudia Lennear) has s steamy shuffle to its rhythms and classic Latin percussive sounds next to a call and response vocal and 'Time After Time' closes with a sentimental feel.

Review: BDQ Records is the outlet for jam quintet BunnDebrettQuintet, who emerged out of 90s acid jazz titans Mother Earth. Their sound has refocused on a raw and rasping strain with a live, in-the-room electricity which comes through brilliantly on this new single with Lydia Sharpe. Taking a few cues from a Led Zeppelin classic, Sharpe strikes a fierce, sultry figure on top of the sizzling hot Hammond organ vamps and low slung rhythm section. It sounds dangerous like a niche 50s cut, but there's plenty of meat on the bones of the production, while the familiar vocal hooks will go down a storm with a busy dancefloor.

Review: Bloco & Soul Essentials are back with their smooth, feel-good vibes with their 7" There For You. Side-1 features the title track, a joyful slice of soul with a fantastic horn section and classy vocals. It captures a warm, 70s mood with smooth strings and an overall laid-back groove that's perfect for fans of classic soul sounds. On Side-2, 'Shady Lady' offers a slower, funkier groove. The track's funky bassline and gentle piano keys create a relaxed, sultry atmosphere, while the rich blend of guitar and smooth vocals tie everything together beautifully. There For You is an essential pick for anyone who enjoys soul music with a touch of Japanese funk and jazz influences, delivering timeless grooves with a modern edge.

Review: Blue Mode and El Chavo present two fantastic new cover versions. The A-side is of course one of the biggest tunes of the grunge era, and is here lent a jazzy, funky, groovy alteration by Blue Mode - though it is an ostensible Nirvana cut, the band were influenced by everything from the Gap Band to Louie Louie and a fair smattering of 80s indie here. This production by Chip Wickham mixes a swinging 60s Blue Note vibe and acid jazz refrains, brings it bang-up-to-date with contemporary nu-jazz. Side B is a boogaloo Latin jazz version of the Lonnie Smith track 'Hola Muneca', beloved of the acid jazz era's foremost DJs, and formerly released on a now impossible-to-find 7" single that shifts for crazy prices.

Review: A bold fusion of Afrobeat, funk and jazz on the debut LP from Blvck Spvde & The Cosmos, marking an exciting addition to Mello Music Group's catalogue. The album is steeped in legacy, with powerful rhythms and expansive arrangements, with tracks like 'Doom' revealing an intense, layered sound, while 'What You Won't Do' reinterprets a classic with introspective depth. All in all, there's a balance of forward-thinking jazz with hints of raw, soulful energy as the ten-piece ensemble capture the feel of St. Louis' live scene and a spirit that's truly timeless.

Review: Jimmy Bo Horne brings his raw and expressive vocals to this new release on Japanese label Ultra Vybe. The oft-sampled America singer, writer and producer has been turning out such sounds since the mid 70s but remains on top of his game here. The big horns bring energy, the rolling rhythm section gets you up on your feet and the whole thing screams floor filler. On the flip is Lynn Williams with 'How Can You Call Love Fascination,' a much more slow and sensual soul tune with acrobatic vocals and nice piano fills next to a big horn section.

Review: BunnDebrettQuintet has got a monster modern soul tunes on their hands here with the legendary Brian Auger on Hammond B3 helping bring the style. The glorious A-side 'Truth In My Tears' has a raw but heartfelt vocal and big horn energy over driving drums. It's a real dancefloor heater and then the flip is 'Wasn't It You', a more soulful groover with lush backing vocals but still dynamic drums powering it onwards. This outfit's last single went on to become a much sought-after release that is now well spenny on Discogs so do not sleep on this limited follow up.

Review: This project stems from the mutual admiration between Daru Jones and Devonne "DJ" Harrison who, upon discovering their collaborations with Jack White, had the idea of blending rock with jazz. DJ Harrison's vintage keyboard skills and Daru's versatility made them perfect for such a rock-influenced project. Legendary guitarist Doyle Bramhall II, a longtime friend of Mr. Mandel, was ideal for the guitar role and after several years they finally got together to record this album in 2022. The result is a first 12" single, mastered at 45 rpm for exceptional sound. Here's hoping there will be more to come.

Review: These artists got together back in 1969 to record Let The Sunshine In, a landmark album that blended jazz, rock and soul into a vibrant sound that captured the spirit of its era with its experimental soundscapes and electrifying performances. These two tunes are taken from the album and come on 7" for useful DJ deployment. Driscoll's emotive, soulful vocals pair beautifully with Auger's masterful Hammond organ and the Trinity's dynamic instrumentation. The title track in particular is a real anthem of its day and is sure to make just a s much of a mark all these years on.

Review: BDQ's next limited 7" is a superb three-way collab between Julie Driscoll, Brian Auger & The Trinity. Their long-lost version of classic dancer 'Jeannine' is powered by wandering basslines and swinging Hammond Organ chords that bring warmth to the free-flowing jazz vocals up top. It has never before been on 45rpm and has been all but unknown for the last 50 years but was recently rediscovered while the label head was looking for something else for the recent 'Auger Incorporated' compilation on Soul Bank Music. On the flip is a mod jazz dancer who is just as hip and ready to make an impact.

Review: Know What I Mean? is a sublime collaboration between two jazz giants. Released in 1961, it showcases the unparalleled musical chemistry between Adderley's exuberant alto saxophone and Evans' masterful piano. With tracks like 'Waltz for Debby' and 'Elsa,' it blends lyrical melodies with inventive improvisation to mesmerise the mind while Adderley's dynamic energy contrasts beautifully with Evans' introspective style. That captivating interplay highlights the best of both musicians and means this album is a timeless gem in the jazz canon that is rightfully celebrated for its sophistication.

Review: Electric Rider marks a major release from saxophonist Tomoaki Baba, celebrated for his role in the Blue Giant soundtrack. A Berklee alum who's performed with Takuya Kuroda and 'J-Squad,' Baba teams up with co-producer BIGYUKI, blending saxophone, keyboards and drums in a tight trio format. The album's original compositions showcase Baba's skill and chemistry with BIGYUKI, featuring a vibrant fusion of jazz and contemporary influences. Involving guests like JK Kim on drums and ermhoi, Electric Rider is a powerful statement from one of Japan's most notable jazz talents.

Review: Complex Emotions, the 16th album from The Bad Plus, confirms the band's endless creative energy and evolution. Featuring the talents of guitarist Ben Monder and saxophonist Chris Speed, the album is a bold leap forward, beginning with Reid Anderson's 'Grid/Ocean'ia shape-shifting opener that morphs between turbulence and calm. The track clears the way for the exhilarating 'French Horns', where Monder's structured yet frenzied solo captures the band's fearless spirit. With standout contributions like Speed's vibrant 'Cupcakes One' and Anderson's blistering 'Deep Water Sharks', the album straddles the boundaries of jazz and rock, tapping into an electrifying synergy reminiscent of guitar icons like Jeff Beck. Quiet moments like 'Carrier', 'Casa Ben' and 'Tyrone's Flamingos' offer dreamy, introspective counterpoints, showing King's percussion and Speed's airy lyricism. The Bad Plus, with Monder and Speed joining founding members Anderson and King, continue to defy genre labels, blending rock, jazz and ambient textures. From blistering intensity to melodic subtlety, Complex Emotions encapsulates the band's drive to innovate and redefine.

Review: At the start of 2024, BADBADNOTGOOD channeled their renewed creative energy into the Mid Spiral series. Fresh off a string of international tour dates and collaborations with artists like Daniel Caesar, Charlotte Day Wilson, and Turnstile, the Canadian trio - Al Sow, Chester Hansen, and Leland Whitty - returned to the studio with a vibrant sense of purpose. Joined by touring member Felix Fox-Pappas and key Toronto jazz musicians Kaelin Murphy, Juan Carlos Medrano, and LA's Tyler Lott, they embarked on an intensive recording session at Valentine Studios in Los Angeles. The result is the Mid Spiral series, initially released digitally in three parts - Chaos, Order, and Growth - and now available as a double LP and CD. These suites mark a return to their instrumental jazz roots while seamlessly blending elements of hip-hop, neo-soul, psychedelic and funk.

Review: Frozen Reeds continues to be a fascinating label providing rare insight into hidden corner of experimental music, here documenting two rare performances from improv legends Derek Bailey and Paul Motian. The pair may have hailed from distinct career paths, but they came together in superlative fashion for two concerts between 1990 and 1991. The first, recorded in Groningen, is captured on this album following a discovery of the tapes in a forgotten archive, and it finds the momentary duo in particularly focused form. Their disruptive musical tendencies are tempered to allow musical themes to emerge and settle before plunging into the next wave of unexpected expression and experimentation. The second performance, recorded the following year in New York, is included as an additional download.

Review: Derek Bailey and Simon H. Fell recorded At Sound 323, well, live at the Sound 323 gallery in London. It is a mesmerising improvisational journey that defies conventions and expectations as it captures the essence of spontaneous musical exploration. Bailey's intricate guitar work dances effortlessly alongside Fell's dynamic double bass to create a dialogue that is both intimate and intense. Each track unfolds organically, with the duo seamlessly navigating through a myriad of textures and tones and seemingly making sound out of anything to hand, such is the DIY feel of each piece. From the delicate and intricate to the more haphazard and ramshackle, every moment is a testament to the duo's unique chemistry and improvisational prowess.

Review: Baker's Holiday is a 1965 album that sees trumpeter and vocalist Chet Baker paying homage to the legendary Billie Holiday. Released now on Verve, the album features Baker's signature mellow trumpet solos complemented by his occasional vocals. He is supported by a full saxophone section and a four-piece rhythm group, including renowned pianist Hank Jones, while colorful arrangements by Jimmy Mundy enrich the listening experience. The album consists of ten songs associated with Lady Day, many of which Baker had not recorded before. This classic album is now part of Verve's Acoustic Sounds vinyl reissue series, which aims to deliver audiophile-grade versions of historic jazz records. Each title in the series is mastered from original analogue tapes, pressed on 180-gram vinyl, and packaged in high-quality gatefold sleeves with tip-on jackets. Baker's Holiday exemplifies Baker's talent and serves as a beautiful tribute to one of jazz's most influential figures.

Review: Blue Note like to claim that you will not find superior versions of the albums they remaster and reissue as part of their Tone Poet Series and we are inclined to agree. Next up to get the luxury treatment is Chet Baker who followed his hugely successful Sings album with this, Sings And Plays, which finds the great trumpeter showcasing the other side of his skills. He was backed for the recordings - produced by Richard Bock - by a quartet including pianist Russ Freeman, Bud Shank on flute and strings and arrangements from Frank Campo, Johnny Mandel, and Marty Paich. The ten song set includes some of Chet's best loved tunes.

Review: Chet Baker's Round Midnight 79 is a captivating live studio album that showcases his exceptional talent as a jazz trumpeter and song arranger. Recorded in one take with no overdubs, the album captures the raw energy and intimacy of a live performance. Baker's trumpet playing is both sultry and expressive, particularly on tracks like 'What's New?'. Accompanied by Rachel Gould's cabaret-style singing on 'All Blues', adds a unique touch to the album. The supporting musicians, including Henry Florens on piano, Jean-Paul Florens on guitar, Jim Richardson on bass, and Tony Mann on drums, provide a solid foundation for Baker's improvisations. Together, they create a cohesive and captivating soundscape that transports listeners to a smoky jazz club. It is a timeless album that continues to captivate and inspire listeners to this day.

Review: Few make jazz as smooth yet smoky and suited to late-night listening as the one and only Chet Baker. His album Signature from 1985 came at the start of his final period of creativity and is one of his best. It features recordings with Philip Catherine and Jean-Louis Rassinfosse and all three of them are in superlative form, playing their best as a group with plenty of musical interaction and conversation but enough space for everyone to shine individually as well s collectively. Baker's trumpet, of course, leads the way with Catherine's nervous guitar and Rassinfosse's rhythmic drive all adding up to something brilliantly potent.

Review: There'll Never Be Another You, recorded live in Zagreb, Croatia, in 1985, features Chet Baker on trumpet, piano, and vocals, accompanied by guitarist Philip Catherine. This album captures the essence of Baker's intimate, melancholic style, showcasing his talent across four duos. The duo's chemistry shines through on tracks like 'Beatrice,' 'Leaving,' and the title track, 'There'll Never Be Another You.' Catherine's guitar complements Baker's performance beautifully, adding depth and texture to the music. Now available on vinyl for the first time!

Review: This staunch collection of songs compiled by Decca hears the very best works of jazz trumpeter Chet Baker "reimagined" by a varied selection of international talent, celebrating the legacy of one of American jazz's coolest ever piston-valvers. It's no surprise that Baker earned himself the name "Prince of Cool" as the concept of cool overtook the jazz world in the 50s and 60s; likewise, the artists chosen to reimagine Baker's many sweet treats here each epitomise that same offhand effortlessness which typified Baker's playstyle. Highlights include Dodie, who leads with a Latin percussive rekeying of 'Old Devil Moon', and mxmtoon, who brings equable guitar lurches to Baker's rather lost-his-cool confession of loving excitement, 'I Fell In Love Too Easily'.

Review: It's no mean feat to win awards with your debut album, but Bala Desejo did just that when they scored big at the Latin Grammys. As soon as you hit play on Sim Sim Sim you'll understand why, as the Rio de Janeiro band demonstrate their canny blend of 60s tropicalia, 70s psychedelia and MPB. It's pure pleasure music, full of wistful escapism and aching beauty, and in drawing so naturally on the best of Brazilian music culture through the ages, they've made something truly woven into the fabric of their home country. Spearheading a new wave of music and art from Rio de Janeiro, Bala Desejo have everything you could possibly want from a new Brazilian project, and more besides.

Review: Mande jazz ensemble Balimaya Project return with much anticipated second album When The Dust Settles on New Soil in partnership with Jazz re:freshed. The group has a magical big band sound that is expanded on here with plenty of personal expression running the emotional gamut from rage to love, grief to joy. Once again they combine the African rhythms of their roots with contemporary London jazz energy as they celebrate Black power and community togetherness. Composer, arranger and Djembe player Yahael Camara Onono leads the group with Afronaut Zu, Obongjayar and Fassara Sacko adding vocals over the advantageous folkloric rhythms.

Review: This is the second album by Balmorhea for the prestigious classical label Deutsche Grammophon, following their acclaimed 2020 release The Wind. The Austin, Texas duo - composed of Rob Lowe and Michael A. Muller - create cinematic and atmospheric music in a world entirely of its own; a shifting blend of gothic classical, folk, ambient, and post-rock, which rarely feature vocals, and instead thrive on the haunted immersions of the compositions alone. Their new LP Pendant World is a collaborative effort that features contributions from several guest artists and contemporary stars: cellist Clarice Jensen, violinist Hilary Hahn, pianist Nils Frahm, singer-songwriter Jose Gonzalez, and electronic producer Rival Consoles. A stunning mesh of sounds, we're not sure where electronic ends and acoustic begins, owing to the album's intended theme of connection, transformation, and evolution.

Review: Tenor saxophonist Barney Wilen made his debut splash when he was just 20 years old, impressing all those around him with the incendiary Guilde Du Jazz: 1957 album. Across the album, laggard, carefree swing and roomy bop abounded stylistically, leading one of his major inspirations, Miles Davis, to remark: "this is the best tenor saxophone I've heard in Europe; he plays tenor in an authentic way, much better than many current stars in the States." Unfortunately, this record was not widely distributed in Wilens' native France because he was under contract with the French label Vogue. Now reissued in its true home country under the wing of Sam Records, Wilen's Guilde is returns as an impressive portrayal of the saxophonist's aptitude for wild, ghostly playing, which succeeds in evoking a feeling of the uncanny despite its jubilant style.

Review: The indestructible Ray Barretto demonstrated superb skills on this record back in 1973. His band were at the forefront of the new Afro-Cuban musical movement that was emerging and became known as salsa. His composer skills were well known after he wrote 'Cocinando' and his band were also much loved in the live area though Johnny Rodriguez on bongo and cencerro, bassist Dave Perez, pianist Louis Cruz, along with trumpeter Rene Lopez and vocalist Adalberto Santiago all left him soon after. HIs Indestructible album is his most remarkable, with a constant sense of flow to the rhythms from front to back.

Review: This reissue brings Gary Bartz's cosmically inspired masterpiece back to earth. Originally released in 1969, the offering is a testament to Bartz's visionary blend of spiritual jazz and Afrocentric themes. The title track sets the tone with its expansive melodies and hypnotic rhythms, evoking a sense of wonder and exploration. 'Dark Nebula' delves into the depths of space, its haunting saxophone lines and swirling piano chords creating a mesmerizing atmosphere. 'U.F.O.' captures the excitement of the unknown, its driving rhythms and soaring saxophone solos conveying a sense of otherworldly adventure. With its impeccable musicianship and profound themes, the album remains a timeless classic of spiritual jazz.

Review: Joe Bataan's 1968 sophomore album Riot! is considered a cornerstone of Latin soul and the record that truly cemented his reputation as the genre's king. Backed by the dynamic Latin Swingers band, Bataan masterfully blends Afro-Cuban rhythms, soul and funk with his signature streetwise flair. Tracks like 'It's a Good Feeling' and the title song capture the energy and emotion of late-1960s urban life while reflecting both personal and societal struggles. Its infectious grooves, raw vocal delivery and tight instrumentation mean that this one remains a timeless classic that continues to resonate across the generations.

Review: A prized nugget from British jazz history gets a much-needed reissue, as Harry Beckett's Flare Up gets the treatment as part of Decca's British Jazz Explosion series. Originally released in 1970, Flare Up is but one release from Beckett's expansive six-decade career, but it demonstrates everything brilliant about the virtuoso trumpeter. Listen out especially for the seriously funky 'Third Road', which has enjoyed additional attention on compilations and the like, but of course the whole album is essential listening for anyone interested in the evolution of jazz in Britain.

Review: Beings' debut album There Is a Garden, features the collaborative prowess of Steve Gunn, Shahzad Ismaily, Zoh Amba, and Jim White. With a fusion of spiritually resonant sounds, each track blooms with distinct environmental and evocative qualities. The quartet's fusion of talents, evident in their first two tracks 'Flowers That Talk' and 'Happy to Be,' shows a spiritually resonant and environmentally evocative sound. Formed after a transformative performance at Germany's Monheim Triennale, the band found a unique synergy, each member contributing distinct qualities to their collective sound. With its tracklist spanning from 'Small Vows' to 'Morning Sea,' the album hints at a diverse sonic landscape ripe for exploration. Beings mark their arrival as a dynamic force in the music scene.

Review: Soulville is quintessential Ben Webster: intimate, tender, endlessly expressive. Webster was internationally recognized as one of Jazz's elder statesman when he recorded this album in 1957. Leading a stellar combo through a program consisting mostly of vintage pop tunes, the great tenor saxophonist is heard here at his peak (though it's most notable for some of its supplementary recordings hearing Webster himself playing the piano, not the sax). Verve's Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Review: Jorge Ben is one of the most influential Brazilian artists of his era. The so-called samba king brought all new rule-breaking style to the genre - both musically and lyrically - and fomented his own freeform acid-samba spin-off over the course of an impossibly high number of albums. One of the problems is that many of them were all given the same name, including this one, Ben. Fortunately which ever one you pick up there is joy to be had. Here there are plenty of psychedelic head twisters such as the opener 'Morre O Burro Fica O Homem' as well as deer, more soulful cuts like 'Fio Maravilha'.

Review: Tropical is Brazilian samba legend Jorge Ben Jor's fifteenth album and it blends unreleased tracks with reimagined covers like 'Taj Mahal' and 'Pais Tropical.' This superb mix of tunes embraces more pop and Western influences than before and hints at his later shift toward the World-Dance sound of the 1980s. Originally aimed at international markets, the album wasn't released in Brazil until 1977 but ably showcased Ben Jor's immense talent as he skilfully revitalises familiar tunes with fresh arrangements that capture the spirit of the times. This era-defining record from Brazil is yet another must-have.

Review: The Tony Bennett Bill Evans Album (1975) brings together two legends of modern music. Featuring just vocal and piano, without any additional musicians, the two artists selected the songs and worked out the arrangements for what was to become the first of two albums together. The frankly-Christened The Tony Bennett Bill Evans Album was thus born, and is a stunning introduction to a particular coming-together of two iconic instruments. This new edition is released as part of the OJC Series and is pressed on 180-gram vinyl at RTI, with all-analogue mastering from the original tapes by Kevin Gray at Cohearent Audio.

Review: George Benson remains a towering figure in the American r&b and soul landscape. His many albums are firmly part of the canon of greats and White Rabbit is right up there. It now gets reissued on limited and numbered gatefold 180-gram audiophile white vinyl after being originally released in 1971. The album showcases Benson's exceptional guitar skills and distinctive vocal style with gems like 'White Rabbit' and 'The Greatest Love of All' effortlessly blending jazz, funk, and soul with Benson's signature smoothness. The high-quality pressing and crisp sound make it a standout on vinyl and remind that as well as the catchy and loved-up hist, Benson had some serious jazz chops.

Review: After nearly three decades and almost 20 albums, Bill Charlap remains a paragon of jazz piano, with his trio - bassist Peter Washington and drummer Kenny Washington - standing as one of today's premier jazz groups. Their latest Blue Note release, And Then Again, recorded live at the Village Vanguard, harnesses the trio's extraordinary synergy and intuitive communication. The trio's has an unparalleled cohesion with sharp decision-making, and dynamic improvisations. The album highlights a blend of songbook classics and compositions by jazz greats, including the vibrant lead track, 'And Then Again' by Kenny Barron. Each performance moves from a calculated vision to a more spontaneous and intuitive approach. Years of critical acclaim and regular performances at the Vanguard have solidified their status, with Charlap's early experiences at the famed club fueling his passion. A thrilling and heartfelt live recording.

Review: Here comes a newly discovered recording by the Bill Evans Trio. It's a live recording that had Eddie Gomez on bass and Eliot Zigmund on drums and was captured on June 20, 1975, at Oil Can Harry's in Vancouver for the radio host Gary Barclay and his CHQM jazz show. The tape has lay lost for almost 50 years but now, after audio restoration by Plangent Processes it sounds as fresh as it ever did. Grammy winning writer, radio host and journalist Neil Tesser has also penned all new liner notes to accompany this special release.

Review: Usually we note how many albums along a new release is, but by 'Trio '65', Bill Evans was so deep into his live LP-releasing career that we find it difficult to count out exactly which release number this one is. Now reissued on Verve's Acoustic Sounds series - dedicated to new vinyl remasters from analog tapes - the jazz pianist's masterful hand technique is given its most thorough audiophile's listen-in yet. Joined by bassist Chuck Israels and drummer Larry Bunker for this 1965 recording, this one is a typically noir and cigarette-smoked tour through both Evans originals and known standards, from 'Israel' and 'Elsa to 'Come Rain Or Come Shine'.

Review: Since debuting in 2006, Italian singer Mario Biondi has skipped between styles and sub-genres, variously turning his hand to carnival-ready Latin jazz, soul-jazz, easy listening, Europop, Christmas music and bossanova. On Romantic, his latest full-length excursion, he keeps his options open too, offering up a range of loved-up songs (in both English and Italian) that variously doff a cap to Nat King Cole, big band jazz, jazz-funk, Barry White (the Love Unlimited Orchestra style 'Romantic Song'), string-laden tear-jerkers ('Loneliness'), funked-up disco-jazz ('What's Your Name'), Rhodes-heavy soul (a gospel-influenced cover of Marvin Gaye's 'What's Going On' that's worth the admission price on its own) and breezy Latin beats ('Papa Loves Mambo').

Review: Italian crooner Mario Biondi is well revered amongst those who know and for his new album, for the first time, he fully embraces the style that inspired his career. He does so by serving up a mix of great covers and plenty of superb unreleased songs that are embellished with help from plenty of friends and peers from both the Italian and international jazz scenes including Paolo Fresu, Stefano Di Battista, Rosario Giuliani, Francesco Cafiso. It was all recorded in Palermo with local players and the whole thing has a noir edge but warm vibe that plays out coherently from front to back despite the range of sounds touched upon.

Review: Handful of Soul was a successful album that sold over 300,000 copies when first released back in 2006. Now reissued by Schema Records in a special edition double vinyl set on blue transparent wax, it reminds us of Mario Biondi's remarkable voice. Hailing from Catania, Sicily, it resonates with soul and rhythm & blues influences and contemporaries like Gregory Porter. The record traverses jazz and soul, offering captivating vocal melodies and dance-worthy rhythms and is supported by trumpeter Fabrizio Bosso and his High Five Quintet who showcase an exceptional interplay among top Italian jazz musicians and deliver instinctive jazz performances.

Review: For those familiar with manchester sax player Birchall's previous forays into dub, this album offers a deep dive into the analogue 70s Jamaican dubbing techniques that have defined the genre, paying homage to the trailblazers like King Tubby and Errol Thompson. The source material is heavily percussive, resulting in a collection of dynamic, dubby drum workouts that seamlessly blend live drumming in the Count Ossie style with drum machines that recall Lee Perry's experimental approach. A highly anticipated dub companion to Nat Birchall's acclaimed Dimension of the Drums LP, this continues in a similar spirit of the previous. Drawing inspiration from classic dub albums like Keith Hudson's Pick A Dub and Winston Edwards' King Tubby Meets The Upsetter at the Grass Roots of Dub, Birchall reimagines the tracks with roots dub precision, incorporating fresh horn lines and hand drums to enhance the album's authentic, organic vibe. The LP includes two distinct mixes of a new rhythm track that wasn't part of the original album, adding an extra layer of excitement for listeners. Birchall once again handles all aspects of the albumiplaying instruments, recording, mixing and masteringiensuring a deeply personal touch in every track. All in total, eight tracks of instrumental dub bliss that transport you back to the golden era of reggae's most inventive sound.

Review: Nat Birchall's latest album is a heartfelt homage to the Jamaican music scene of the mid-1970s. Drawing inspiration from iconic figures like Lee Perry, Aston Family Man Barrett, and Sly Stone, Birchall expertly captures the essence of the era's sound. His meticulous attention to detail shines through in every aspect of the album, from the use of drum machines to the instrumentals and dubs reminiscent of Keith Hudson and Im & Count Ossie. Birchall's dedication to his craft is evident in his role as the sole creator of the album, handling all instruments, recording, and mixing. The result is a profound musical journey that pays homage to the past while carving out a unique space for Birchall's own artistic expression.

Review: Nat Birchall is one of the finest contemporary sax players around, He can do it all, from solo albums where his instrument takes the lead in seductive suites of meditative jazz, to more cosmically mind work with a band via superb reggae fusions. After last year's well removed Ancient Africa he is back with a third all-solo outing that finds him playing all the instruments himself. It's an homage to the king of tenor sax, John Coltrane, as the title suggests, and included are classic 'Trane compositions 'Acknowledgement' from A Love Supreme, 'India' from his Impressions LP and 'Dahomey Dance' from Ole.

Review: In the many-layered world of UK jazz, saxophonist Nat Birchall remains something of a hidden treasure. Having led many a group and recorded for the likes of Gondwana, Jazzman and Sound Soul and Spirit, he's now settled into a steady rhythm with Ancient Archive Of Sound, notching up a fourth album for the label which confirms once again what an incredible talent he is. The sound is spiritual, paying explicit homage to the deep rooted heritage of the music he plays without overstepping the mark - Birchall's fluid expression and composition is reverential and powerful, a true credit to the winding legacy of jazz music.

Review: It's often the albums that fall between the cracks that are the greatest. Violin virtuoso and singer Andrew Bird and Americana singer-songwriter Madison Cunningham shine a light on the underrated pre-Fleetwood Mac gem of an album, Buckingham Nicks, by fully covering it. Released five years before Stevie Nicks and Lindsey Buckingham went on to have mega success with Rumours, Buckingham Nicks was such a flop commercially that they were dropped by their label Polydor. But it is a cracking album and in covering it in their own style and having a palpably strong musical connection as a duo themselves, Bird and Cunningham have done it absolute justice and changed it. They have shed the 70s pop sheen of the original and made something more timeless to behold. 'Stephanie' is moody, majestic and cosmic and 'Without A Leg To Stand On' is one of the most stirring vocal performances you'll hear in 2024. A highly rewarding listen throughout.

Review: Bitchin Bajas are back two years after they last went out on a live run. This new album finds the group taking a deep dive into the songbook of one of the world's most unique and idiosyncratic jazz artists, namely Sun Ra. The cult synth drone band adds their own interpretation to his music with a stylish sense of rhythm from front to back. There is plenty of joy in these cosmic transmissions as they layer up their Yamahas, Rolands, Korgs, Casios, a MicroMoog and Ace Tone organ into music from another universe.

Review: Nature documentary series The Living Planet very much captured the imagination of Raoul Bjorkenheim back in 1986. It featured erupting volcanoes and plumes of molten lava and some of that drama and energy is captured in this fine jazz album which now gets a new extended reissue. Bjorkenheim studied at the Helsinki Conservatory for a year and the Berklee College of Music in Boston for three years and worked with composer and drummer Edward 'Eetu' Vesala. For this album, he played with reed virtuosos Jorma Tapio and Tapani Rinne, bassist Sampo Lassila and drummers Michel Lambert and Heikki 'Lefty' Lehto. It is a hot and raw record that contains an album's worth of previously unheard material.