Review: Esperanto is widely heralded as a Venezuelan jazz-Ffsion masterpiece. It was first released in 1980 and is a real collector's item that is hard to find an expensive. French label Favourite now presents a first ever reissue of the eponymous LP that was recorded in Caracas by a number of talented musicians. It has strong Latin and funk overtones. Squelchy synth sounds and is a must-have for anyone interested in this fine fusion sound. The band started off playing jam sessions that grew ever more refined to the point that they eventually lay down this enduring masterclass.
Review: The Ethnic Heritage Ensemble was founded in 1973 by percussionist Kahil El'Zabar and had a huge impact on jazz. They have put out several sublime and hotly in demand albums over the years since - the excellent Be Known: Ancient Future Music being one of them - and are rooted in free-jazz improvisations and inspired workouts. Their second album Impressions came in 1982 and is now remastered and reissued for the first time, much to the delight of collectors. It is a kaleidoscope of sound and unabashed musical vision from this sublime ensemble.
Review: Celebrating 50 years of Kahil El'Zabar's Ethnic Heritage Ensemble's legacy, Open Me, A Higher Consciousness Of Sound And Spirit is their new full-length LP, ever-shifting the many gears and tempos of the jazz-blues continuum, in a dialectical state of perpetual spontaneity. Billed as an album of both ancient and future music in the same breath, it blends El'Zabar's original compositions with motifs from timeless classics by Miles Davis, McCoy Tyner, and Eugene McDaniels. A healing vision of haphazard improvisations and percussive buildups to sublime peaks, all core members - Kahil El'Zabar, Corey Wilkes and Alex Harding, backed by James Sanders and Ishmael Ali - make for an essential contribution to the spiritual sonosphere.
How My Heart Sings (Recorded live In Helsinki Finland August 13 1964) (4:27)
Come Rain Or Come Shine (4:38)
Nardis (3:50)
Autumn Leaves (3:59)
Five (5:43)
Detour Ahead (Helsinki Jazz Festival Finland November 1 1965) (5:54)
Come Rain Or Come Shine (5:31)
My Melancholy Baby (8:20)
Very Early (University Of Tampere Finland October 28 1969) (5:01)
Who Can I Turn To? (5:23)
'Round Midnight (7:50)
Gloria's Step (4:53)
Turn Out The Stars (5:30)
Autumn Leaves (5:46)
Quiet Now (5:51)
Emily (5:56)
Nardis (10:30)
Review: Unveiled as part of Record Store Day 2025 celebrations and produced by Zev Feldman in collaboration with the Bill Evans Estate, Further Ahead: Live in Finland 1964-1969 is a remarkable double album collection of previously unreleased recordings by the legendary jazz pianist. The set features intimate performances from Evans' iconic '60s trios plus a special 1965 session with alto saxophonist Lee Konitz. Pressed on great sounding heavyweight vinyl, this version includes rare photos, essays by Marc Myers and Gil Goldstein and reflections from Evans' trio members Chuck Israels, Eddie Gomez and Marty Morell, which makes it a real authority on Evans' work.
Review: Bill Evans Waltz For Debby is an iconic jazz album that has long been a cherished one to add to any collection. It now gets this exclusive collectors' LP edition that comes with a special 7" single that includes some extra versions of songs from the original album. These include unaccompanied piano versions of 'My Romance' and 'Waltz for Debby' as well as a special quartet reading of the title tune featuring Evans with Cannonball Adderley. It's full of dancing melodies and majestic melodies that run deep into your psyche.
Review: It's not often that a previous unheard recording of a giant of jazz is found loitering in the depths of someone's personal collection, but that's the case here. These recordings of legendary jazz pianist Bill Evans, laid to high-quality tape in 1964, were discovered last year in the personal archive of jazz musician Ole Matthiessen. Now fully mastered, it's a genuine unheard "Holy grail" - a set of recordings that show the versatility and quality of Evans' playing. Basically, it's a fantastic collection of piano jazz numbers, with Evans either playing solo, or accompanied by little more than a drummer and a double bassist. If you love jazz, you need this in your life.
Review: The newly unearthed 1970 Kongsberg Jazz Festival recording showcases Bill Evans' trio in a vibrant live setting. Featuring bassist Eddie Gomez and drummer Marty Morell, this performance highlights the trio's evolving synergy. Recorded during Evans' methadone transition, the set reveals a newfound energy in his playing, marked by dynamic tempos and a percussive vigor distinct from the introspection of his earlier live recordings. The tracklist balances brisk renditions of standards like 'So What' and 'Autumn Leaves' with contemplative pieces such as 'Quiet Now' and 'Some Other Time'. Highlights include the mid-tempo elegance of 'Turn Out the Stars' and the emotive 'What Are You Doing the Rest of Your Life?' Gomez's bass solos feature prominently, particularly on 'Come Rain or Come Shine' and 'Nardis', where his virtuosity shines. Morell's nuanced brushwork complements Evans' shifts in mood, particularly during the tender ballads. The setlist, reportedly tailored on the spot, reflects Evans' knack for adapting to his audience. The interplay among the trio is masterful, underscoring their tight rapport. This release is both a historical document and a compelling listen for fans of Evans' artistry.
Review: Bill Evans and Jim Hall's Undercurrent is a timeless coming together of two greats that showcases the sublime synergy between piano and guitar. Released in 1962, the album exemplifies understated elegance and musical intimacy. Evans' delicate piano melodies intertwine seamlessly with Hall's lyrical guitar lines, creating a captivating atmosphere of introspection and emotional depth. Tracks like 'My Funny Valentine' and 'I Hear a Rhapsody' epitomize the duo's unparalleled chemistry, while their improvisational prowess shines on every note. Undercurrent then stands as a testament to Evans and Hall's collaborative brilliance, leaving an indelible mark on the landscape of jazz music with its timeless beauty and profound musical expression.
Review: Peter Evans makes a dynamic entrance on We Jazz Records with Extra, a bold and energetic album set for rele. The trio includes Evans on trumpet, bassist Petter Eldh, and drummer Jim Black. This collaboration, recorded at Lisbon's legendary Namouche Studio, shows a tightly-knit group that thrives on pushing boundaries together. Evans, known for his exceptional trumpet technique, brings a fearless approach to these eight original compositions, allowing the chemistry between the musicians to lead the charge. The album bursts to life with 'Freaks', immediately setting the tone with intense, forward-thinking jazz. Eldh and Black provide a powerful rhythmic foundation, allowing Evans' trumpet to soar and explore new musical territories. Tracks like 'In See' and 'Boom' are fiery and unpredictable, while 'Movement 56' and 'The Lighthouse' offer unexpected twists and shifts in direction, revealing the trio's playful and exploratory nature. This is creative, modern jazz at its finestia celebration of musicians pushing each other into uncharted sonic landscapes while still maintaining a strong, cohesive unity throughout.
Review: Strut's reissue of Experience Unlimited's 1977 debut Free Yourself offers a fresh dive into a seminal record that paved the way for Washington D.C.'s go-go scene. Originally released in 1977, this album fuses soul, jazz, and funk-rock, showcasing the band's eclectic and pioneering style. Formed in 1973, Experience Unlimited caught the eye of Black Fire Records' Jimmy Gray after a school talent show victory. Bandleader Gregory "Sugar Bear" Elliott recalls their early days in the studio with a sense of youthful spontaneity, capturing their genuine selves. Free Yourself reflects this spirit with its vibrant and varied tracks. From the soulful reflections of 'Peace Gone Away' to the funk-driven 'Funky Consciousness' and the nascent go-go grooves of the title track, the album radiates positive energy and innovation. The reissue preserves the original artwork, including Malik Edwards' cover painting, and features remastering by The Carvery. Accompanied by a new interview with Sugar Bear and rare photos, this edition brings a crucial piece of music history back into the spotlight.
Review: Much celebrated new school jazz crew Ezra Collective finally unveil their highly anticipated new album Where I'm Meant To Be after a big summer single 'Victory Dance' got us all excited. This record is a life-affirming romp with their famous hybrid sound tasing in all manner of different styles, eras and scenes. Some high-profile features from Sampa The Great, Kojey Radical, Emile Sande and Nao bring extra goodness to this record which is certainly a product of the current London scene but also owes a debt to the sounds of southern Africa. It all adds up to a real doozy.
Review: London's contemporary jazz scene is so strong right now that there's not a week that passes without the release of a killer new album from one of its leading protagonists. The latest comes from Ezra Collective, which finally delivers its' debut album following a string of inspired live performances and a handful of must-have singles. Kicking off with a breezy chunk of hip-hop-jazz, "You Can't Steal My Joy" sees the hyped five-piece confidently bounce between intense, spiraling epics ("Why You Mad?"), reggae-influenced aural sunshine ("Red Whine"), polyrhythmic Afro-jazz ("Quest For Coin"), bespoke soul (Jorja Smith hook-up "Reason In Disguise"), live boom-bap hip-hop (Loyle Carner collaboration "What Am I To Do"), bustling Afro-Cuban jazz ("Chris & Jane"), picturesque piano pieces ("Philosopher II") and much more besides. As debuts go, it's mighty impressive.
Review: Ezra Collective has described their hotly anticipated second album, 'Where I'm Meant To Be', as "a thumping celebration of life". As with their previous work, it's rooted in the band's love of on-stage improvisation - call-and-response instrument solos abound throughout - and peppered with contributions from guest vocalists including Sampa The Great, Emeli Sande and Nao. Musically, it's undoubtedly joyous, blurring the boundaries between contemporary UK jazz, afrobeat, hip-hop, dub, Latin rhythms and soft-touch electronics. The plentiful highlights include steppers-powered dub-jazz workout 'Ego Killah', sparkling opener 'Life Goes On' and the Afro-Cuban brilliance of 'Victory Dance'.
Review: Continually travelling jazz explorer Greg Foat heads to Finland in search of more kindred spirits to jam with, again hosted by the excellent Scandi jazz label Jazzaggression. Having recently collaborated with Aleksi Heinola and Teemu Akerblom for Gone To The Cats, Foat now teams up with Eero Koivistoinen on tenor sax for a decidedly smooth ride which brings out the best in both players. Captured over a stormy weekend at Jazzaggression's in-house studio, there are considered compositions and improvised moments alike on this infinitely listenable album, which neatly rounds off his trio of albums for the label.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.