Review: Scruscru and Los Protos hook up on the former's ever-reliable label for some more funk-fuelled and sample-heavy madness. This eight-tracker draws on the best of Library, jazz, hip hop and soul and collides elements of all of those together with some raw, and what sounds like, MPC beats, all tapped out with a lovably loose vibe. Some like 'Local Sugar Diggers' look up towards a sunny, cloudless sky, others like 'Dreams Of Sonora' are swaggering broken beat workouts with sensuous sax lines setting a steamy tone. 'Por Do Sol Em Shelekhmet' is another highlight with its aloof, angelic vocal tones.
Review: By 1960, Georgia-born tenor saxophonist Mobley was at the height of his powers, crafting a trilogy of hard bop masterpiecesiSoul Station, Roll Call and Workout. Roll Call, the middle entry, finds Mobley leading an inspired quintet featuring the young and fiery Freddie Hubbard on trumpet, alongside the rock-solid Soul Station rhythm section of pianist Wynton Kelly, bassist Paul Chambers and the explosive Art Blakey on drums. The result is a hard bop stunner, bursting with energy, interplay and lyrical phrasing. This reissue opens with the dynamic title track, a minor-key powerhouse that jumps out of the speakers, pushing each musician to deliver their best. Mobley and Hubbard's chemistry is electrifying, their solos crackling with urgency. The swaggering 'My Groove Your Move' follows, built on a confident, swinging groove, while 'A Baptist Beat' channels the deep, soulful call-and-response tradition of the black church. A second take of the latter further showcases the group's enthusiasm and spontaneity. The album's only standard, 'The More I See You', is a sublime moment of restraint, with Hubbard's use of the harmon mute adding a delicate, smoky touch. Mobley's playing here epitomises his gift for melodic improvisationisubtle yet deeply expressive. His warm, bluesy tone and sophisticated phrasing made him one of the most lyrical saxophonists of his era. Even decades later, Roll Call remains a cornerstone of hard bop.
Review: Celebrate 20 years of In Between with In Between Revisited: Jazzanova Live, a vibrant reimagining of Jazzanova's smashing debut. Recorded at Little Big Beat Studios, this intimate session fuses the original album's sample-driven roots with the real-deal energy of live musicianship. Tracks like 'That Night', 'No Use', and 'Days To Come' take on new life, blending jazz, soul, and electronic elements in a seamless, unforgettable performance. Though it was originally a studio creation, In Between helped define the genre of nu-jazz upon its 2002 release, where nu-jazz itself always invites live-lounge rejigging. With the Jazzanova Live Band, formed in 2008 and honed over 15 years of touring, the group finally brings a long-plotted album to the stage. The performance is here captured on analogue tape with stellar musicians and vocalists, reinventing, yet at the same time devoting itself to, a classic.
Review: Stanley Turrentine's debut as a bandleader arrived in June 1960, just a few months after his notable sideman role on Jimmy Smith's Midnight Special and Back at the Chicken Shack. With these albums cementing his status as a standout player, Blue Note boss Alfred Lion wasted no time bringing Turrentine back into the studio to record his first outing as a leader. The result announced the arrival of his deeply soulful tenor saxophone, immediately marking him as a key figure in the hard bop scene. Turrentine's approach was distinctiveieach note infused with emotion and a deep sense of groove. His compositions, like 'Look Out' and 'Minor Chant', alongside tunes by Parlan and Clifford Brown, revealed his mastery of both melody and rhythm. The session was anchored by a strong rhythm section, featuring pianist Horace Parlan, bassist George Tucker, and drummer Al Harewood, each contributing to the album's powerful sound. A highlight is the ballad 'Journey into Melody', where Turrentine's ability to infuse warmth and depth into a song is on full display. This all-analogue remastering offers a true-to-the-original listening experience, preserving the warmth and clarity of this essential jazz release.
Review: If you like your jazz mystical and spaced out then you're on the right page with this one. The Blackhole label returns with a sixth self-titled offering that is buy on sight. 'More Love Songs' has whimsical leads disappearing off into the cosmic ether over mic jazz-funk drums with some breezy vocals finishing it in style. 'Searching The Circle' then take off on another carefree and breezy groove with far-sighted melodies and gorgeous vocal harmonies that melt you to your core. Beautiful stuff.
Review: For five years, Acid Jazz has been showcasing Kevin Fingier's productions with each one carrying his signature Latin flair. It all began with 'Latin Dynamite', which sold out 15 days before its release and was followed by 'Cocktail de Medianoche' and 'Why Don't You Go Home', which were both instant sellouts. The second pressing of 'Latin Dynamite' included a fiery Latin rendition of the r&b classic 'It's Your Voodoo Working'. When Fingier released 'Not Strictly Soul,' it featured the Latin gem 'El Popcorn' which is now available on 7" for the first time. These four Latin Soul anthems are now united in one explosive Boogaloo EP that arrives just in time for summer.
Review: This orange 7" is a miniature monument to one of soul's most quietly influential figures. Roy AyersiLos Angeles-born, jazz-schooled, funk-mindedicrafted 'Everybody Loves the Sunshine' not to dazzle but to dissolve. It moves with a drowsy clarity: shimmering synth, near-whispered vocals, and a lazily tumbling bassline that never quite lands. Released during a golden run of Ayers' mid-70s material, the track has since become shorthand for warm-weather introspection, equal parts ease and ache. The instrumental version on the reverse keeps the spirit intact, offering a meditative glide through the same terrain. Limited to 300 copies, this orange pressing pairs a low-lit groove with a deepening sense of legacyiAyers' influence isn't just heard, it's felt in the space he leaves behind.
Review: Few recordings capture the easy intensity of a summer afternoon like 'Everybody Loves the Sunshine'. Released in 1976 and wrapped in slow-drifting synths and soft falsettos, the track became a touchstone not just for Roy Ayers, but for 70s soul and beyond. Born in Los Angeles, Ayers helped define the jazz-funk crossover, placing the vibraphone at the centre of a sound both hazy and sharply detailed. The original vocal take on the A-side still melts under its own warmth; the instrumental on the flip uncovers the careful architecture beneath. Issued here on 7" black wax following Ayers' recent passing, this reissue feels like both a keepsake and a quiet honouring of an artist who shaped a whole way of listening.
Review: After years of silence following the loss of Sonny Knight in 2017, former Lakers members Blair Krivanek and Cy Pierpont return with their new project, Ace Box Shift. The duo have made plenty of standout contributions to the soul revival scene before now and here they debut on Secret Stash Records with another pair of fiery instrumental cuts that work exceptionally well for DJs and dancefloors alike. They find Krivanek's jazz-infused guitar work meeting Pierpont's pounding rhythms with raw, funk-driven results that make for a bold, high-energy comeback that pays tribute to their roots while also moving things onwards.
Review: This is a lovely reissue on pink vinyl of Cymande's Promised Heights album, which is a famously warm blend of funk, soul, and reggae that showcases the band's distinctive sound and social consciousness. Released in 1974, this record continued their tradition of infectious grooves and thought-provoking lyrics. The uplifting rhythms of 'Brothers on the Slide' still resonate to this day while the laid-back vibes of 'Changes,' remain timeless. Each track has intricate instrumentation and soulful vocals that make this one so well-loved by new generations of record diggers and soul fans, all while delivering a powerful message of unity and hope.
Review: To any funk digger worth their salt, Cymande have been a staple since their 70s heyday, but the Brit funk cult legends are enjoying a renewed presence since their triumphant return with reunion shows which cemented their legacy after decades being overlooked. Their story tracks back to this seminal album, a scintillating fusion which could only have occurred in Britain in the 70s as communities and cultures joined together to create one harmonious groove the likes of which had never been heard before. The whole album feels like a run of hits, from the celestial swirl of 'Dove' to the life-affirming horn blasts of 'Bra'. If you don't already have this track in your bloodstream, now's the time to catch up.
Hohnen Ford - "I Get Along Without You Very Well" (2:56)
Matilda Mann - "There Will Never Be Another You" (3:10)
Dodie - "Old Devil Moon" (2:56)
Puma Blue - "It's Always You" (3:13)
Poppy Daniels - "I've Never Been In Love Before" (4:33)
Ife Ogunjobi - "Speak Low" (4:20)
Benny Sings - "Time After Time" (2:45)
Stacy Ryan - "Like Someone In Love" (4:27)
Matt Maltese - "My Funny Valentine" (2:59)
Mxmtoon - "I Fall In Love Too Easily" (3:15)
Grentperez - "But Not For Me" (2:10)
Delaney Bailey - "While My Lady Sleeps" (4:33)
Review: This staunch collection of songs compiled by Decca hears the very best works of jazz trumpeter Chet Baker "reimagined" by a varied selection of international talent, celebrating the legacy of one of American jazz's coolest ever piston-valvers. It's no surprise that Baker earned himself the name "Prince of Cool" as the concept of cool overtook the jazz world in the 50s and 60s; likewise, the artists chosen to reimagine Baker's many sweet treats here each epitomise that same offhand effortlessness which typified Baker's playstyle. Highlights include Dodie, who leads with a Latin percussive rekeying of 'Old Devil Moon', and mxmtoon, who brings equable guitar lurches to Baker's rather lost-his-cool confession of loving excitement, 'I Fell In Love Too Easily'.
Review: This 1973 jazz funk release shines with Steve Grossman at the helm, surrounded by a stellar lineup that's bound to excite both jazz aficionados and the Rare Groove and DJ communities. The original album, a gem from the iconic TBM (Three Blind Mice) label, has earned its place in jazz history, bridging the gap between traditional jazz and more contemporary sounds. Now, after years of anticipation, this reissue brings the record back to vinyl, expertly remastered by Bernie Grundman. The package includes the original liner notes, offering a richer experience for those revisiting this classic and new listeners alike.
Review: Two Is One (1974, now 2025) recaptures saxophonist Charlie Rouse at the peak of his rabble-Rousing powers, commanding the popular will (through steering clear of sonic demagoguery) through effortless funk, soul jazz, and post-bop, all while orbiting that distinctive cosmic ring-edge that defined the Strata-East catalogue. Best known for his long tenure alongside Thelonious Monk, Rouse steps into a new light here, leading a stellar ensemble made up of guitarists George Davis and Paul Metzke, Cal Scott on electric cello and Stanley Clarke on bass. Together they stretch out across a set both grounded and exploratory, with a spiritual undercurrent running through the grooves. Newly issued on 180-gram vinyl, the record comes packed in a tip-on gatefold with fresh liner notes from Syd Schwartz and rare archival photos, bringing fresh focus to one of Rouse's most compelling records.
Nat King Cole & Stan Kention - "Orange Colored Sky" (2:31)
Perry Como - "Don't Let The Stars Get In Your Eyes" (2:39)
The Castells - "Some Enchanted Evening" (2:30)
Buck Owens - "Act Naturally" (2:15)
Johnny Cash - "So Doggone Lonesome" (2:33)
Nat King Cole - "I Don't Want To See Tomorrow" (2:36)
Scatman Crothers - "Keep That Coffee Hot" (2:45)
The Ink Spots - "Maybe" (3:05)
Ella Fitzgerald & The Ink Spots - "Into Each Life Some Rain Must Fall" (3:06)
Jack Shaindlin - "Let's Go Sunning" (1:43)
Sheldon Allman - "Crawl Out Through The Fallout" (2:22)
The Ink Spots - "I Don't Want To Set The World On Fire" (3:04)
Review: The Fallout: Soothing Sounds of the Apocalypse vinyl is a nostalgic journey through iconic hits of the 1930s, 40s and 50s that beautifully contrasts the dark, post-apocalyptic setting of Amazon's Fallout series. This 12-song collection includes unforgettable tracks by legends like Johnny Cash, Nat King Cole, The Ink Spots, Perry Como and Ella Fitzgerald, evoking a haunting yet charming atmosphere for fans of the show and the beloved video game franchise. Songs like 'I Don't Want To Set the World on Fire' by The Ink Spots and 'Orange Colored Sky' by Nat King Cole capture the eerie beauty of a world grappling with survival amidst ruins, while tracks such as 'Crawl Out Through The Fallout' by Sheldon Allman add a touch of dark humour.This soundtrack brings together timeless music that has helped shape the unique atmosphere of the series.
Review: Omar is one of the UK's most notable soul stars and revered vocalists. His 1997 album This Is Not A Love Song came at the heart of the acid jazz explosion and remains one of its most vital works. It was his fourth album in a career that has produced nine overall and has plenty of his signature grooves, from the jazz flecked 'This Is Not A Love Song' to the -soul stylings of 'Wherever' via his spine tingling cover of the classic 'Golden Brown'. This is a limited and numbered 180 gram audiophile gold & black marbled vinyl reissue on Music on Vinyl with new a insert.
Review: Ben Webster and Associates marked the final collaboration between tenor saxophone legends Ben Webster and Coleman Hawkins, with veteran Budd Johnson joining them. The album was originally released in 1959 and featured a lineup including trumpeter Roy Eldridge, guitarist Les Spann, pianist Jimmy Jones, bassist Ray Brown and drummer Jo Jones. It has many timeless standards like 'Time After Time' and Ellington's 'In a Mellow Tone' along with three original Webster compositions, all of which have been transferred from the original analogue tapes and remastered. The album served somewhat as a tribute to Lester Young, a tenor master from the same era who had died under a month before the session.
Review: Recorded at the storied Slugs' Saloon in Manhattan's Lower East Side, this unified collection captures the Charles Tolliver-led Music Inc quartet in blistering form. New York runs through the musiciits restlessness, density, sharp corners. Tolliver, a Brooklyn-born trumpeter with a militant edge and lyrical touch, fronts a group that helped define the forward-looking jazz of the early 70s. Beside him are Strata-East co-founder Stanley Cowell on piano, bassist Cecil McBee and drummer Jimmy Hopps, all embedded in the New York avant-garde at the time. On pieces like 'Felicite' and 'Wilpan's', they stretch out with blistering force, melting structure into raw, insistent groove. Even in quieter momentsi'Ruthie's Heart', or the shadowy 'Repetition'ithere's a tension that never quite releases, the sense that every note is carved in real time. This is the first time both volumes are presented as one continuous document, expanded with three previously unreleased tracks. It's a vital capture of a quartet thinking collectively, improvising with unrelenting intensity and total mutual trust. The sound, newly remastered, gives space to the grit and nuance of the live sessioniCowell's cascading runs, McBee's deep pull, Hopps' unpredictable propulsion. There's no studio polish here, just a direct line to the spirit of a time and place, when New York jazz burned fast, political and free.
Review: A true return to form, Renascence is a standout in the band's iconic discography, serving as a spiritual and sonic successor to their 1974 album Promised Heights. It brings a fresh, modern edge to their foundational sound, which shaped early hip-hop and funk scenes in both the US and UK. Renascence tells the story of a band that never received its full recognition but is now reclaiming the crown by staying true to their rootsipolitically aware, spiritually positive, and delivering infectious grooves that stand the test of time. A jewel in the crown of their legacy.
Review: Two premium Latin funk documents on one limited 45, Mr Bongo deliver once again: Marcos Valle needs no introduction to Brazilian music enthusiasts. "Mentira" is a self-cover as Valle takes his 69 classic "Mentira Carioca" and develops the dynamic with a vocal style that's highly reminiscent of Donovan. Flip for Toni Tornado's Black Rio anthem "Me Libertei". Fusing sleazy rock n roll with jazzy Latin soul, madly this is the first time it's ever graced a 45!
Review: This classic Roy Ayers album seems to get reissued almost exactly every 10 years, and every time it quickly disappears, so move fast for this latest drop by Nature Sounds. The album has just four tunes across two sides of vinyl and has talented musicians like Joe Henderson, Charles Tolliver, Bruno Carr, Jack Wilson and more all featuring. It is one of Roy's earlier works from back in 1967, before he became a funk, acid jazz & r&b icon, and has elements of his mad vibraphone skills front and centre. he super cool tracks are infused with the sunny sounds that Roy is so well loved for.
Review: A long-lost gem from drum legend Edison Machado finally sees the light of day: Edison Machado & Boa Nova, recorded in New York in 1978 but never released, reflects the work of the master muso-mountaineer at his peak, fusing North and South American jazz rhythmic traditions with groundbreaking samba innovations. Machado, a pioneer of "samba no prato" (samba on cymbals), redefined Brazilian jazz alongside Jobim and Gilberto. Forced into exile under Brazil's dictatorship, he later found new creative energy in NYC, leading an ensemble of top-tier musicians. The result? A daring, dynamic, and electrifying session, controlled but untamed. Alongside original contributions from Dom Salvador, Guilherme Vergueiro and Aloisio Aguiar, this 80-minute lost masterpiece singes our ears with its carpal flair.
Tony Finch Marino - "I Need You" (feat Sax Gordon) (3:42)
LTJ Experience & Pomante - "Don't Let The System Get You Down" (Regrooved mix) (7:37)
Alixia Mistral - "Run Away Or Face The Day" (2:45)
The Soultrend Orchestra - "It's Gonna Be Alright" (feat Frankie Lovecchio) (3:15)
Synthear - "Jazzoo" (5:31)
Review: IRMA Records is now in its 37th year and paying resects to the impact of Black music remains central to its vision and output. In the 80s, the acid jazz movement revived soul jazz funk from the 70s, and this vibrant scene continues to thrive today and introduce new artists who take on the mantle. Since the 90s, IRMA has been home to acts on that tip like Jestofunk, Bossa Nostra, Gazzara and Man Sueto and this Mondo Groove collection showcases the diverse Italian scene as it is today. It blends Afrobeat, fusion and world music influences into a party-starting array.
Review: Legendary keyboardist Lonnie Liston Smith worked with jazz greats like Dakota Staton, Max Roach, Abbey Lincoln, and Roland Kirk, formed a notable partnership with Pharoah Sanders and Leon Thomas, toured Europe with Gato Barbieri and played Fender Rhodes with Miles Davis, all before putting out his own solo album. Smith's debut, Astral Traveling, released on Bob Thiele's Flying Dutchman label features his Cosmic Echoes and includes life-affirming cosmic jazz tracks like 'Let Us Go Into The House Of The Lord' and 'In Search Of Truth.' This reissue includes a gatefold sleeve and liner notes by jazz critic Nat Hentoff.
Review: A standout 1958-1959 recording by Johnny Hodges, Side by Side marked his continued solo work after taking the bold decision to leave the legendary Duke Ellington Orchestra. This album harks back to the small-group sessions of the 1930s but with a twist as Ellington's absence on several tracks meant Billy Strayhorn stepped in on piano. Joining Hodges are jazz legends like Jo Jones, Roy Eldridge and Harry 'Sweets' Edison, who all add colour to the varied collection, which has been newly remastered for Verve's Acoustic Sounds Series. As a follow-up to 1959's Back to Back: Duke Ellington and Johnny Hodges Play the Blues, it is another gem from the noted alto saxophonist.
Review: Mahavishnu Orchestra, a believably metaphysical force in the alternate plane that is jazz-rock fusion, released Visions Of The Emerald Beyond in 1975, indicating an accessible and funk-influenced approach compared to their earlier works. Through sprawling fusion fugues and shorter, more structured pieces, the record is, despite its compositional variety, a fadeless, seamless connected suite. 'Lila's Dance' stands tall among the movements especially, though 'Eternity's Breath' and 'Cosmic Strut' also abound in their sooling psychic projections, demoing the radical result of the shaken-up, second Mahavishnu lineup, with Mahavishnu himself, sometime Miles Davis ensemble guitarist, John McLaughlin remaining at the helm.
Review: Extension was the last of three unique Blue Note sessions led by the singular saxophonist George Braith in the early 1960s. The album was rooted in soul jazz - with Grant Green (guitar), Billy Gardner (organ), and Clarence Johnston (drums) - but Braith's adventurous spirit led the music into unexpected realms on memorable originals like "Nut City." Blue Note Classic Vinyl Series is all-analogue, mastered by Kevin Gray from the original master tapes, and pressed on 180-gram vinyl at Optimal.
Review: Individuality, Harmony, Wit.
Originating from the heart of Asia - Taipei, Taiwan, Zy The Way is a fusion collective spear-heading a new musical movement in a digital age. As the offspring of a film director, entertainers and multi-genre musicians, Zy The Way aims to create artistic content that will rock your socks. We believe that true balance is achieved not through the uniting of different social groups, but when we come together with our stories as an individual. Voices and vision, musical styles, personalities, and our own beliefs, Zy The Way is the fabrication of our collective imagination, where no one is left out.
Nico Gomez & His Afro Percussion Inc - "Lupita" (7:16)
Review: Mr Bongo continue to churn out top-quality re-edits and here they enlist Danny Krivit aka. Mr. K, the New York producer who has longstandingly helped prop up the dance scene there since the early 1960s. Krivit is responsible for perhaps some of the earliest and most significant disco and funk edits on Earth, so we're more than happy to hear these new ones out, in which he lends his ear to two mambi from Latin extraordinaires Sabu Martinez and Nico Gomez. Percussive clanks and boxy slaps abound on this audiophiles' charm.
Review: Idris's fifth and perhaps most popular of his near-20 LP strong solo discography (that's not including the epic array of artists he's worked with from Fats Domino to Art Davis) Ranging from the heavily-sampled stone-cold soul stunner "Could Heaven Ever Be Like This" to silky disco funk such as the album title track and the sleazier "Crab Apple" to the frenetic jazz blasts of tracks such as "Camby Bolongo", this is the sound of a man fully committed to the craft and spirit of the groove. Nothing short of essential.
Review: Chip Wickham, who usually goes by the first name of Roger, returns to Madrid's excellent Lovemonk label with a mini LP to inaugurare the start of summer, which means a start to some pretty killer shades of balearica! In fairness, however, this album and the man's sound are much more in line with the jazzy end of the spectrum, breaking beats and forming new, forward-thinking arrangements. For instance, the opening "Shamal Wind" is a wonderful excursion into dreamier realms of the flute, while "Snake Eyes" picks up the tempo and makes way for an album thy can be plaid on your headphones, out on the car speakers, and most certainly in the dance! A wonderfully composed piece of music from a rising talent of true broken beat.
Review: The 12th release on Mr. Bongo's signature 45s series saw a reissue of two foundational releases in Brazil's modern popular music category; now the record hears a second round, fresh again off the master metal lacquer. On the A, we hear Brazilian samba luminary Elza Soares covering Jorge Ben's classic 'Mas Que Nada' - albeit with a hoarser vocal tone, such was Soares' signature voice, one which only led to a whopping 34-album career. B-sider Elizabeth, by contrast, upholds a mystery; the artist was nicknamed "Gatinha do Mato" ("jungle cat"), and recorded 'Vou Falar-Lhe Francamente' at some indeterminate point in 1960s Sao Paolo, when and where Brazilian local styles blended with funk and rock.
Review: A singular force in European jazz, Norwegian guitarist Terje Rypdal emerged from Oslo's late-60s underground, swapping out psychedelic rock theatrics for a more searching, cinematic mode of improvisation. This early work catches him mid-morph, just 21 and already pulling away from the fuzz of his band The Dream to chase a colder, more expressive language. 'Dead Man's Tale' sets the toneigritty, restless, stretched to its limitsiwhile 'Wes' offers a moment of reverence in its loose, lyrical swing. There's a quiet narrative elegance to 'Winter Serenade', its three-part structure marking snowfall, storm and thaw, and 'Bleak House' and 'Sonority' lean darker, flirting with the avant-garde. Closer 'A Feeling Of Harmony' tilts things back toward resolution, leaving behind a kind of luminous melancholy that points forward to his landmark ECM work.
Review: Although he initially broke through decades ago as a talented keyboardist- a role he still performs alongside his work as a solo producer - Mark de Clive-Lowe has always been much more than a prodigious musician-for-hire. That was particularly evident on 2021's Hotel San Claudio album, a musical meeting of minds with Shigeto and Melanie Charles. It shines through loud and clear on Past Present (Tone Poems Through Time)', an inspired collection of 'tone poems' - musical pieces that draw direct inspiration from the landscape - created using an electric piano, an enormous list of mostly vintage synthesisers, and field recordings captured on a trip to his father's native Japan. Sitting somewhere between ambient jazz, the epic synth-scapes of Tangerine Dream and the most vivid movie soundtracks, Past Present is emotive, immersive and effortlessly evocative.
Review: Spanish Ethio-jazzers Pyramid Blue return with their latest 45 rpm rotunda on Discos Martos. Another one signalling the best of this rather recherche band's evolving sonics, they here team up with with Habiba Chaouf, a talented Arab singer deeply rooted in Spain's flamenco scene. Habiba's mesmerising vocals bring a rich layer to the A-side, where identifiably Arab melodies intertwine seamlessly with deep Afro-funk rhythms. 'Amal' means "hope" in Arabic, suggesting themes of longing, uncertainty, and soul-search. The B-side's 'La Esperanza', meanwhile, adds a touch of 70s film soundtrack bombast, combined with a whispered mid-record rap.
Review: Dorothy Ashby went down in time as one of Detroit's longstanding greats; predominantly a jazz harpist, she was one of the first and most successful jazz musicians to use the harp as a lead instrument. The Rubaiyat of Dorothy Ashby is her ninth and penultimate album, released in 1970 through Cadet Records. Its adventurous blend of spiritual and funky jazz draws on various cultures and traditions, but was largely inspired by the words of Omar Khayyam, a 12th-century Persian poet and philosopher. Ashby expands her playing repertoire into the Japanese koto, as well as singing on some tracks, producing a sound describable as nothing less than spiritual - this is further tempered by backing flutes, oboes, vibraphones and kalimbas to boot. This one also coincides with a revived interest in the work of Rafiyq, the spoken word artist heard throughout.
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