Back catalogue: All genres

Review: Duke Ellington's Far East Suite, now reissued on 180-gram audiophile orange vinyl LP, is a noteworthy, though often overlooked, entry in Ellington's discography. Recorded in 1966, the suite reflects a time when jazz was tentatively exploring other cultures, with pieces inspired by the band's tour of the Middle East rather than the Far East. While not as celebrated as Black, Brown and Beige or Such Sweet Thunder, Far East Suite captures an intriguing phase in Ellington's career. Composed with Billy Strayhorn, the suite includes gems like Strayhorn's 'Agra' and Ellington's 'Tourist Point of View,' showcasing their enduring creativity even amid Strayhorn's health struggles. This reissue retains previously issued alternate takes and introduces five new ones, though it's hard to add to the original's brilliance. For newcomers, this is a splendid chance to experience Ellington's adventurous spirit; for longtime fans, it's a familiar but welcome revisit. Despite its misnomer and scattered themes, Far East Suite remains a testament to Ellington's enduring legacy.

Review: Cass Elliot, released in 1972, marked a significant moment in the career of the iconic vocalist, formerly of The Mamas & The Papas. Shedding her Mama Cass alias, Elliot embraced her real name for the first time on this album, which exudes the nostalgic glamour of 1930s Hollywood. Featuring songs by talented songwriters like Judee Sill, Bobby Darin and Bruce Johnston of the Beach Boys, the album showcases Elliot's unparalleled vocal strength. Each track shows her ability to captivate listeners with her emotive delivery and soulful interpretation. This limited edition reissue on silver-colored vinyl, housed in a gatefold sleeve, is a fitting tribute to Elliot's enduring legacy. With only 1000 individually numbered copies available, it's a must-have for fans and collectors alike, allowing them to experience Elliot's timeless talent in a new light.

Review: Slave Call by The Ethiopians is a majestic exploration of the spiritual roots of reggae, led by deep Nyabinghi drumming and chanting. Leonard Dillon's Rastafarian beliefs are at the album's core, evident in every track, including a profound rendition of the Ethiopian national anthem. Max Edwards' Nyabingi drumming infuses the album with authenticity and is skillfully showcased by producer Niney Holness, who delivers a rhythm-heavy production while giving equal attention to vocals.The album blends traditional Nyabinghi elements with guitars, bass, keyboards, and horns, creating a rich reggae sound that maintains a dignified restraint. Holness' arrangements ingeniously reinforce the album's themes, exemplified by the title track's evocative depiction of slaving field hands. Other highlights include the driving urgency of 'Hurry On' and the soulful blend of blues in 'Culture.' Leonard Dillon's exceptional performance imbues each song with power and devotion, making 'Slave Call' one of his greatest achievements. With its cultural depth and musical excellence, the album stands as a testament to the enduring legacy of reggae's spiritual roots.

Review: A native of the island nation of Cape Verde, Cesaria Evora was known as the country's foremost practitioner of the morna, a combination of West African percussion with Portuguese fados, Brazilian modinhas, and British sea shanties. Here her much-acclaimed debut album from 1999 is heard reissued by Music On Vinyl, highlighting a pinnacle point in her career. The 90s were a strong time for Evora; it saw to a string of original records after a pluming singing career in the decade prior. Evora here ventured further into Latin American infused soundscapes, venturing further outwards from her earlier Portuguese explorations.