Review: Mr. Bongo provide a stark slice of Brasiliera with a split 7" tackling star works from scene-fellows Georgette and Claudia, making up the 26th release in their esteemed Brazil-themed series. For this one, the label home in on two firm favourite artists of the 70s Rio scene, whose same two featuring tunes have already been released side-by-side by the label in 2015: Brazilian samba singer Georgette, whose 'Kirie' brings tense suspended flavours to a lively, formerly hard-to-obtain album cut from 1976; and fellow MPB vocalist Claudia's 'Com Mais De 30', a cover of Marcos and Sergio Valle's original version, which commands a springy downbeat and vocal echo. Both made famous again by their selections by various present day popularisers such as Four Tet and Gilles Peterson, Mr. Bongo clamp their mitts on the fervour once more.
Review: Gadiaga, a rising star in the UK music scene, brings a fresh and captivating blend of old-school jazz tradition and modern rootsy sounds in her latest release, All Black Everything. Drawing from her Senegalese, Gambian, and Malian heritage, Gadiaga's music resonates with authenticity and vitality. Influenced by legends like Betty Carter and Stevie Wonder, she crafts a unique style that captivates audiences and critics alike. Through her soulful voice and compelling lyrics, Gadiaga explores themes of individuality, struggle and empowerment. All Black Everything serves as a poignant expression of her personal journey, celebrating the strength found in embracing one's uniqueness. With appearances at renowned festivals and support from influential platforms like Jazz FM and BBC Radio, Gadiaga's star continues to rise, cementing her status as a significant new voice in contemporary music. This album is a big reason why and should win over any listener.
Review: Painter, musician, actor, director and producer. John Lurie has done a lot in his time, whether that's appearing in 19 movies, composing for 20 TV shows and films - including some of those he was the star of - or producing primitivist art work. Here, we get to engage with two of those back catalogues, even if only because these are scores to a pair of his most iconic flicks. Always cool and stripped, Lurie's stuff is the kind of experimental-leaning jazz that works so well when setting the scene. And this applies off screen, IRL too: pressing play here will only serve to create a mood wherever you are, no matter what you're doing. One of shadowy streets, yellow hued spots, smoky barrooms and dark backrooms, a sense of after hours exploration.
Review: Sam Gendel is renowned for his innovative use of saxophones and wind controllers and with that he brings a fresh perspective to contemporary music. Benny Bock meanwhile is a versatile keyboardist, composer, producer and sound designer from Oakland, California who crafts evocative soundscapes across diverse styles. Hans Kjorstad is the third and final part of this three-way collaboration and is a musician and composer who specialises in contemporary microtonal music while drawing inspiration from Norwegian traditional music and experimental improvisation. Together, their unique approaches push the boundaries of modern music as they weave traditional and avant-garde elements into a rich tapestry of sound that bridges genres and challenges conventions.
Review: The 1950s marked the rise of Japan's modern jazz scene, with the Big Four, helmed by George Kawaguchi, playing a pivotal role. Over the years, the ensemble saw shifts in its lineup but maintained its influence on Japanese jazz. Originally released in 1969 as part of Victor's Japanese Jazz series, George & Sleepy captures both the essence and evolution of this revered group. While tracks like 'Lover' and 'Charade' reflect a sense of nostalgia, echoing the Big Four's golden era, the album is anything but a mere look back. Pieces like 'Tuesday Samba' offer a polished, contemporary groove, while the rhythm-forward 'Vietnam' adds an intriguing exotic flair. The balance between timeless jazz sensibilities and forward-thinking arrangements gives this record.
Review: Seattle-raised, New York-based singer and pianist Eliana Glass releases one of the most arresting debuts of the year, finding her own nuanced style after years training as a jazz vocalist and being in steeped in records by Nina Simone. Glass' love of more indie influences, such the ethereal Elizabeth Fraser of the Cocteau Twins means she fuses technical excellence with a more emotional led timbre that, in turn, brings you closer to her soul. 'On The Way Down' is a great place to start as it's a stunning marriage of piano and vocal but when she just plays piano the hairs stand on the back of your neck, too. Check out 'Song for Emahoy' and try not to cry.
Often They Came To Visit, Even Just To See How She Was (M1) (2:53)
In More Turbulent Times, She Managed To Take The Perfect Shot (M4) (2:13)
What's Really Important She Wanted To Know (M6) (part 1) (4:25)
What's Really Important She Wanted To Know (M6) (part 2) (3:49)
What's Up Is Not What's Real Most Of The Time (M5) (3:41)
When They Came Closer She Realised They Were Alien Creatures (M3) (3:48)
The Shine Of Gold Was Too Strong (M8) (3:27)
When She Curled Up They Started Dancing (M2) (2:48)
He Was Painting Her Face With Colours She Had Never Seen (M9) (1:11)
I Is One (M10) (4:06)
Review: This is the debut solo album by Italian-born, London-based composer, bassist and vocalist Ruth Goller. It was originally released in 2021 on Bex Burch's Vula Viel Records but quickly sold out with its detuned bass harmonics and dense vocal arrangements. Skylla introduced a sound both otherworldly and unplaceable and Goller's reputation soared as a result. That led to the critically acclaimed 2024 album Skyllumina on International Anthem while Skylla remains the genesis of her distinct style as it evokes the experimental energy of 1980s Downtown NYC or a Bjork-adjacent Icelandic project.
Review: Super cool jazz cat Dexter Gordon's 1963 album Our Man in Paris marked his first release from Europe and is often regarded as the final bebop album. The saxophonist gathered a quartet featuring bebop legends Bud Powell on piano and Kenny Clarke on drums and they played alongside French bassist Pierre Michelot to record this timeless work at CBS Studios in Paris. The album is defined by Gordon's commanding saxophone with the intricate rhythms of bebop that take you right back to a precise moment of musical history which marked a significant transition in jazz. It remained a defining work in Gordon's career.
B-STOCK: Sleeve damaged but otherwise in excellent condition
On Green Dolphin Street (6:20)
Shadrack (6:21)
What Is This Thing Called Love? (5:52)
Count Every Star (6:15)
Moon River (5:36)
Gooden's Corner (8:13)
Two For One (7:37)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Originally dating back to 1961, this record by American jazz guitarist Grant Green wasn't released until 1980 by Blue Note Japan. It features a quartet with pianist Sonny Clark, bassist Sam Jones, and drummer Louis Hayes who all back up Green's distinctive guitar work. Clark's soulful piano also does plenty to elevate this one and the synergy between the two musicians is a standout while creating a rich, harmonious atmosphere. Praised for its beauty back then by highly regarded by critics, in 1997 it was included in The Complete Quartets with Sonny Clark, further cementing its significance in jazz history.
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