Back catalogue: All genres

Review: Madlib's back catalogue is one of the most revered in hip-hop and it would be quite interesting to hear a load of jazz cats rework it in their own style. But this essential album from Blue Note is sort of the opposite - the legendary US producer gets access to the vast Blue Note vaults and from that culls his own library and sound and samples and cooks up fresh takes on plenty of classics. As such you will recognise his beats under melodies from the likes of Donald Byrd and Bobbi Humphrey, Ronnie Foster and Bobby Hutcherson. The whole thing has been remastered as part of the Classic Vinyl Edition series so has never sounded better.

Review: Nduduzo Makhathini's latest release, uNomkhubulwane, is a shinning example to his multifaceted talents as a pianist, composer, and philosopher. Backed by Zwelakhe-Duma Bell le Pere on bass and Francisco Mela on drums, Makhathini crafts a transcendent three-movement suite inspired by the mythical Zulu rain goddess and embodiment of divine creation. Each movement of the suite delves into themes of collective memory, vital energy, and inner attainment, reflecting Makhathini's own journey as a healer and seeker of spiritual enlightenment. From the mournful introspection of 'Libations' to the rejuvenating waters of 'Water Spirits' and the hopeful transcendence of 'Inner Attainment,' Makhathini's music offers a pathway to balance, freedom, and grace. With its blend of African cosmology, Yoruba symbolism and Makhathini's signature blend of jazz improvisation and spiritual introspection, uNomkhubulwane is an invitation to embrace a new mode of humanism - one rooted in the eternal quest for harmony and liberation.

Review: American triombonist Grachan Moncur III's Some Other Stuff (1964) heaved deeper into avant-garde jazz after his groundbreaking debut Evolution. Now with an all-star lineup - Wayne Shorter (sax), Herbie Hancock (piano), Cecil McBee (bass), and Tony Williams (drums) - his sophomore slay mapped a new, unsoiled territory in modal bop. The freeform opener 'Gnostic' sets an exploratory tone, while 'Thandiwa' swings a subtler tonal thurible, and 'The Twin' playfully shunts its rhythms before 'Nomadic' reintroduces them through the rise-and-fall drumming of Mr. Williams. Now reissued as part of the Blue Note Tone Poet Series, this edition delivers the record in the utmost audiophile quality.

Review: Lee Morgan's The Sidewinder, a cornerstone of Blue Note's catalog, is a vital release that revolutionised the jazz landscape. This album, renowned for its title track, launched the boogaloo trend with its infectious groove, making it a staple for both jazz aficionados and casual listeners. The real gem, however, is Totem Pole, a classic Latin swinger featuring Morgan's feisty trumpet, Joe Henderson's tenor sax harmonies, and Barry Harris's lyrical piano solo, reminiscent of McCoy Tyner. This track exemplifies the album's depth beyond its famous single. Recorded at Van Gelder Studio in 1963, the ensemble includes Bob Cranshaw on bass and Billy Higgins on drums, both delivering impeccable rhythmic support. The catchy piano riff and punishing beat of The Sidewinder secured its commercial success, helping Blue Note thrive and continue producing boundary-pushing jazz. Morgan's effortless precision, superb interplay with Henderson, Cranshaw's irresistible basslines, and Higgins's powerful backbeat create an irresistible momentum. Tracks like 'Gary's Notebook' and 'Boy, What a Night!' feature challenging lines and masterful solos, showcasing the musicians' prowess. The Sidewinder is not just a pivotal jazz record; it's a testament to Morgan's ability to inject excitement into his playing. The album's initial pressing, known for its Van Gelder stamp and Plastylite pressing, remains highly sought after by collectors. This release's impact on jazz and its enduring appeal underscore its importance in the genre's history.

Review: 1966 is when Lee Morgan laid down this immensely sleek and beautiful record for Blue Note, but it was shelved until, amazingly, 1984. Next to the trumpeter himself, the quintet here features Hank Mobley on tenor sax, plus Cedar Walton on piano, Paul Chambers on bass, and Billy Higgins on drums. They are all in fine fettle and the record has a number of standout tunes such as the Duke Pearson gem 'Is That So' and the lush title track by Morgan. This is another essential reissue from the on going Blue Note Tone Poet Series which paces high focus on the wealthy of each recording.