Back catalogue: All genres

Review: In their day, Rebirth Brass Band were New Orleans' premier brass ensemble and in 2001 they showed it with the fiery energy of their album Hot Venom. This record has never previously been available on wax and captures the band's signature blend of traditional brass sounds with their own take on modern grooves. Highlights include dynamic collaborations with rap legends Soulja Slim on the musically and socially hard-hitting track 'You Don't Wanna Go To War', and Cheeky Blakk on the unapologetically bold 'Pop That Pussy.' Wherever you turn here you're confronted with infectious rhythms and raw New Orleans energy that cannot be faked. Hot Venom really is the sound of a band at their innovative best and bridging musical worlds.

Review: This is the first release in 33 years from jazz guitar legend Emily Remler. The previously unreleased collection features performances from Alan Grant's "4 Queens Jazz Night" radio program, which was recorded live in Las Vegas and broadcast on KNPR. The limited-edition 180-gram triple vinyl set includes quartet performances with pianist Cocho Arbe, bassist Carson Smith and drummer Tom Montgomery and trio performances with Smith and drummer John Pisci. Mastered from original tape reels by Bernie Grundman, the deluxe set features liner notes by Bill Milkowski and insights from artists inspired by Remler so is a complete collector's item.

Review: American jazz trumpeter and flugelhorn player Roy Hargrove made his most enduring mark as a fusionist, poking holes in the barriers between every genre between gospel to hip-hop, and this is a legacy more than cemented on one of his many great LPs, Hard Groove, titularly playing on his name while amounting to a paragon in the art of genre-busting. Running the entire gamut of styles Hargrove was interested and involved in at the turn of the millennium, the album brings together many covers and renditions, with D'Angelo appearing on the cover of Funkadelic's 'I'll Stay' and Q-Tip on 'Poetry', among many other greats.

Review: Roberto Olzer Trio is here to douse you in blissful jazz sounds with this expansive and rewarding new album, Celeste. It is packed with refined sounds mastered by the maestro Stefano Amerio and features Older on piano next to Yuri Goloubev on double bass and Mauro Beggio on drums. The sounds flow freely, the pianos are quick and lively as fingers dart about the keys and the constant ticking of the drums and weight of the double bass keep things rooted in the here and now. A sublime sound for sure.

Review: Sonny Rollins' Night At The Village Vanguard: The Complete Masters is a jazz treasure trove capturing the great man's legendary performances at the iconic New York venue. This comprehensive collection showcases him at the peak of his improvisational prowess and delivering electrifying saxophone solos backed by a stellar ensemble. From the pulsating rhythms of 'A Night In Tunisia' to the introspective melodies of 'I've Got You Under My Skin,' each track shows just how unique he was when it came to improvisation and jazz innovation. The remastered recordings offer pristine sound quality, allowing listeners to experience the vibrant energy of Rollins' live performances with unparalleled clarity.

Review: This album recorded by Tatum and Webster in 1956 came just prior to Tatum's passing less than two months later. Revered as a masterpiece, the dynamic interplay between Webster's blend of aggression and lyricism and Tatum's flamboyance and delicacy creates a captivating encounter, with Callendar and Douglass providing impeccable support. Reissued previously by Essential Jazz Classics, this new edition adds bonus tracks from a 1953 Tatum solo session and four numbers from a summit meeting between Webster and Teddy Wilson.The opener sets a languid tempo, diverging from the breakneck pace of many bebop jams, establishing the album's relaxed vibe. And even as later cuts quicken the pace, there's an underlying sense of ease that permeates throughout. Tatum's cascades of notes serve as ornamental accents rather than urgent directives, while Webster, despite the excess reverb of the era, focuses on melody.