Review: Brazil 45s hit the quarter century in their run and show no sign of stopping. It's an all-girl affair on this one as two hugely popular and prolific singers take a spin under Mr Bongo's spotlight. Elizabeth (often known as Elizete) lays down a steamy samba flavour that gets raunchier as the track develops. Elza, meanwhile, gets busy on a Bossa tip as a carnival of percussion and horns go toe-to-toe with her sharp, sexy staccato vocals. Powerful.
Review: Missouri man Early Turner is the latest to be celebrated on the always sharp Tramp label. This was his first record in the late 70s, right on the cusp between trad funk and the emergent sound of boogie. 'S'port City Rock' is a sweat-inducing dancefloor cut with a deadly on-the-one groove and some serious bass, letting just a few choice synth zaps to sneak into the mix but keeping things primarily organic. 'Sunshine' is a softer soul number - the perfect sentimental foil to the serious get-down on the A-side.
Review: The Brazil 45 series from Mr Bongo bursts through the picture with yet another rocking 7" fire starter by two vintage pop greats - we have to say, their format simply works. First up is Elis Regina, a Brazilian singer who released a countless pop records back in the '60s, and "Ye Me Le" is a soft, seductive Brazilian soul warmer complete with blasting trumpets and that inimitable South American percussion swagger. Turkey's Senay features on the flip with "En Buyuk Sansin Yasiyor Olman", an incandescent lover's ballad that makes a welcome change to the more widely heard Turkish psych sound of the '70s.
Review: Thanks to the year being 2025, te jazz age of the 1920s is being centennially anniversaried the world over. But when recorded music took the world by storm from the 50s onwards, it was only a matter of time before such starlets Lu Elliott would make latent but no less powerful waves in the same early jazz sound, except this time around, the sonic vestiges of the time were preservable. Elliott, a jazz/blues singer and recording artist, was a onetime BB King and Duke Ellington posse member, having found her lungs playing in a band known as The Cubanaires before bronchi-ating out into mid '60s solo stardom with tunes such as 'Speaking Of Happiness'.
Review: Two outstanding Brazilian funk cuts straight out of 1971: "Esperar Pra Ver" is a laden with an immense orchestrated groove that's triggered by a lean, unforgettable bass guitar riff that matches Evinha's purring, slinky allure. "Que Bandeira" rolls with more of a poppy bossa flow with militant rim shots, swooning strings and a momentum that builds on every verse. Both tracks are taken from Cartao Postal, Evinha's third album that has been known to pass hands for as much as L500 in the past.
Seun Kuti & Sampa The Great - "Emi Aluta" (Zamrock remix) (3:31)
Seun Kuti & Egypt 80 - "Emi Aluta" (feat Sampa The Great - 45 edit) (3:55)
Review: Afrobeat virtuoso Seun Kuti is soon to release his highly anticipated album, Heavier Yet (Lays The Crownless Head) later this year. It features guest appearances from Damian Marley and Sampa The Great so promises to be a global sensation. Ahead of that, we get a taste of things to come from his distinctive Afrobeat sound with this powerful new work on Milan's Record Kicks. First up here with get the bubbly rhythms of 'Emi Aluta' (Zamrock remix) then 'Emi Aluta' (feat Sampa The Great - 45 edit) comes complete with some hard bars.
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: Double Consciousness is not just the name of the new collaborative album release between Oren Ambarchi and Eric Thielemans; it's also a term developed by revolutionary theorists such as Frantz Fanon and W.E.B. Du Bois to describe the cognitive dissonance/dual self-perception of oppressed groups in unjust, often colonial societies. With that in mind, we're not just going in blind here. A forty-minute, single-take epic album recorded live at the Werkplaats Walter theatre in Brussels, this is Ambarchi and Thielemans as we know them best, the former handling the guitar as usual, and the latter on drums and percussion. Many disparate movements ensue, the music seeming to represent the arc of psychic revelation; the roller-coaster ride of fulfilment; tyrants overthrown; and former double-consciousnesses unified.
Review: Renowned bassist Ron Carter's inaugural album, 'Where?' introduced a stellar lineup of talent alongside the main man including Eric Dolphy on clarinet, saxophone, and flute, and pianist Mal Waldron. Originally recorded at Rudy Van Gelder Studios in New Jersey in 1961, the record showcases the early brilliance of Carter's musical vision. Now reissued as part of the Original Jazz Classics Series, this edition is pressed on high-quality 180-gram vinyl by RTI. Mastered with meticulous care by Kevin Gray at Cohearent Audio, using analogue techniques from the original tapes, this release offers a pristine listening experience and is a great chance to rediscover the timeless allure of Carter's debut masterpiece.
Review: In August 1961, John Coltrane and his legendary Quintet, joined by visionary multi-instrumentalist Eric Dolphy, played the revered Village Gate in Greenwich Village, New York, not, at that time, as established as it would soon become. This special new double album features over an hour and a half of music that has never before been heard, including well-known Coltrane classics such as 'My Favorite Things' and 'Greensleeves' as well as the only known non-studio recording of Coltrane's 'Africa' from his Africa/Bass album. The record then marks a historic moment in Coltrane's career.
Review: This all new EABS meets Jaubi In Search of a Better Tomorrow long player is the result of musical bridges having been formed between Jaubi and the releases on Astigmatic Records and collaborations between musicians from Europe and Asia and EABS members' trips to Pakistan and Poland. It is a world sound with Moogs, bass guitars, grand pianos, Fender Rhodes, clarinets, saxophones and vocals all colliding tradition with new school thinking. Hip-hop elements, improvisation and spiritual jazz and Hindustani ragas all feature in this most cultural and musical melting pots.
Review: The first and still cult classic jazz album Eastern Rebellion from the eponymous band was released in 1976. The collective didn't waste any time in getting back in the studio to record a follow up and so came their magnificent Eastern Rebellion 2 just 12 months later. It is a frantic and classic set of free-form jazz from the group that consists of Cedar Walton on piano, Bob Berg on tenor-sax, Sam Jones on bass, and Billy Higgins on drums. The four pieces that make up this album were all penned by Walton and cover plenty of ground from hard bop to straight jazz.
Review: Cleveland Eaton had an accomplished life as a jazz musician, whether throwing down on piano, saxophone, trumpet, tuba or bass, up to his passing in 2020. As well as recording for the legendary Black Jazz, in 1973 he also released this armour-plated heater on Gamble. The cover is something else, it must be said, but the grooves contained within will soon dispel any prior judgements. These are hot and heavy instrumental funk-outs for crate-diggers, beat-flippers and those who simply enjoy losing themselves in the finest funk money can buy. With some familiar versions slipped in from 'Day Dreaming' to 'Betcha By Golly Wow', there's also a comforting familiarity to the music, even if it sounds like nothing else you've heard before.
Annita Ray & The Nature Boys - "Frankie's Song" (2:27)
Don Carson & The Casuals - "Jungle Bungalow" (2:30)
Bob Romeo & His Jungle Secret - "Sahara" (2:35)
Don Carson & The Casuals - "Yes Master!" (1:58)
Marti Barris - "Ahbe Casabe" (2:44)
Gene Chandler - "Lonely Island" (1:45)
Biggie Mcfadden - "Big Rock Steam Roller" (2:19)
The Big Square From Nowhere (3:13)
Robie Lester - "Green Flamingo" (2:40)
John Harris - "Monterey" (alternate version) (2:44)
Jam Session '78 (1:35)
Review: Eden Ahbez was a the prototypical hippie in California, writing songs and recording through the 40s to the 60s and penning Nat King Cole's hit single 'Nature Boy' amongst others. This album, his definitive 1960 opus, is a unique curio which touches on jazz, spirituality and much more besides, but ultimately sounds utterly unique, much like Ahbez himself was. There's a romantic lilt to his playing, a little sadness but also much innocence and joy in these songs. If they don't stir up the inner nature child in you, you must have a heart of concrete. Alongside the standard Epsilon reissue of the album is this stunning, wood-cover edition which gives the album a special kind of prominence, not to mention tapping into the earthly magic of Ahbez's music.
Review: Ahbe, Nature Boy, Eden Ahbez, whatever you want to call him, the original hippie is back. Now, Light In The Attic deliver on the proto-psychedelic's only ever album, repackaging it in all its glory for a deluxe box set edition. Containing the original album, as well as a 24-page booklet, collectors are touting it as the defining reissue for 60s music freaks. An original 1960s mono pressing will fetch upwards of L400, and for good reason: Ahbez' original compositions for piano, xylophone, flute and spoken word, from 'Myna Bird' through to 'Full Moon', completely transcend his jazz standard associations for a more pioneering, visionary ambient breakthrough into a new genre, which later came to be known as 'exotica'.
B-STOCK: Small sticker mark on wooden box, inner sleeves of the records are torn; otherwise in perfect working order
Eden's Island (2:12)
The Wanderer (3:39)
Myna Bird (2:21)
Eden's Cove (2:41)
Tradewind (3:00)
Full Moon (2:55)
Mongoose (1:49)
Market Place (2:29)
Banana Boy (2:49)
The Old Boat (2:34)
Island Girl (2:15)
La Mar (2:46)
Surf Rider (unreleased track) (2:40)
Tobago (45 Rpm single version) (2:22)
The Wanderer (alternate version) (1:24)
The Crew-cuts - "Song Of The Fool" (2:37)
India (2:24)
The Planet Song (2:51)
The Mt Hoyoke V8s - "Hey Jacque" (2:18)
Herb Jeffries - "The Shepherd" (3:12)
Jack Powers - "End Of Desire" (2:53)
Annita Ray & The Nature Boys - "Frankie's Song" (2:27)
Don Carson & The Casuals - "Jungle Bungalow" (2:30)
Bob Romeo & His Jungle Secret - "Sahara" (2:35)
Don Carson & The Casuals - "Yes Master!" (1:58)
Marti Barris - "Ahbe Casabe" (2:44)
Gene Chandler - "Lonely Island" (1:45)
Biggie Mcfadden - "Big Rock Steam Roller" (2:19)
The Big Square From Nowhere (3:13)
Robie Lester - "Green Flamingo" (2:40)
John Harris - "Monterey" (alternate version) (2:44)
Jam Session '78 (1:35)
Review: ***B-STOCK: Small sticker mark on wooden box, inner sleeves of the records are torn; otherwise in perfect working order***
Eden Ahbez was a the prototypical hippie in California, writing songs and recording through the 40s to the 60s and penning Nat King Cole's hit single 'Nature Boy' amongst others. This album, his definitive 1960 opus, is a unique curio which touches on jazz, spirituality and much more besides, but ultimately sounds utterly unique, much like Ahbez himself was. There's a romantic lilt to his playing, a little sadness but also much innocence and joy in these songs. If they don't stir up the inner nature child in you, you must have a heart of concrete. Alongside the standard Epsilon reissue of the album is this stunning, wood-cover edition which gives the album a special kind of prominence, not to mention tapping into the earthly magic of Ahbez's music.
Review: An album that defined the "cool" in West Coast Jazz when it emerged in 1960, it's a robust, swinging session led by the veteran Los Angeles-based tenor saxophonist. Edwards' smooth tone in the middle and lower registers, combined with a brassier edge in the upper range, showS his melodic inventiveness and dynamic fluidity. The primary rhythm section features Leroy Vinnegar on bass and Billy Higgins on drums, with either Amos Trice or, more often, Joe Castro on piano. Higgins, fresh off sessions with Ornette Coleman, locks into a straight-ahead groove, with the entire rhythm section swinging relentlessly. Pianists Trice and Castro bring a bebop-plus-barroom feel reminiscent of Sonny Clark, adding grit and charm to the quartet's sound. The program is largely blues and bebop-flavored originals, with several based on the chord changes of 'I've Got Rhythm'. The title track introduces a Latin flair, while Vinnegar's 'Vintage '57' offers variety.A pivotal moment in West Coast jazz when Edwards, once obscure, reemerged with vigour.
Review: Together Again!!!! reunites trumpeter Howard McGhee and saxophonist Teddy Edwards in a jazz collaboration originally released in 1961 that is as energised and electric as the title with all its many exclamation marks. This reissue is part of the Acoustic Sounds Series and showcases the exceptional talents of McGhee and Edwards alongside Phineas Newborn Jr. on piano, Ray Brown on bass, and Ed Thigpen on drums. It has been cut from the original master tapes by Bernie Grundman so the AAA lacquers enhance the album's rich sound. It's a mini-classic of the jazz world and it never sounded better.
Review: This work by Alf Emil Eik is a serene and soothing soundtrack for moments of relaxation, meditation or peaceful ambience. Eik's ethereal melodies transport listeners to a realm of inner peace and timeless beauty. Each track blends intricate layers of sound and evokes serenity and wonder while the harmonies resonate deeply within your soul. Uplifting yet introspective, the music invites reflection on the beauty of life and the mysteries of existence. A fusion of classical, ambient and new age influences abound here and prove Eik to be a master composer.
Review: Madrid-based collective Danzon El Gato channel the city's restless creative energy into a vivid fusion of jazz, funk and roots music. Formed within Madrid's experimental scene, the group revolves around Javier Adan and Santiago Rapallo, longtime collaborators whose past projects range from jazz fusion to avant-garde film scores. This latest release sees them sculpt a kaleidoscopic sound, pulling from North African, Latin American and Mediterranean traditions while staying locked into the groove with a rhythm section indebted to 70s library music and golden-era hip-hop. Across the record, they explore an array of moods and textures. 'Ronda' pairs intricate guitar lines with a propulsive swing, while 'La lucha'ifeaturing Marina y su Melaoileans into percussive Latin jazz. 'Twangy Morocco' lives up to its name, weaving surf-rock guitar into an East-meets-West instrumental, whereas 'Chapoteo' ripples with aquatic, freeform interplay. 'Amambay' and 'Fuimos invencibles' showcase their knack for evocative storytelling through sound, shifting effortlessly between cinematic tension and unbridled release. Danzon El Gato craft music that reflects Madrid itselfidense with influences, rich in movement and ambiguousiin the best way. Their sound captures a city in flux, where past and present collide to create something unmistakably fresh.
Review: Elephant9, renowned for their electrifying live performances, continues to impress with their upcoming double live album, Catching Fire, recorded during a remarkable 2017 concert in Oslo to celebrate Terje Rypdal's 70th birthday. This release, available on double vinyl through Rune Grammofon, adds to the band's impressive discography, which includes multiple studio albums and live recordings. Catching Fire shares a visceral energy reminiscent of classic live albums from Mahavishnu Orchestra, ELP, and King Crimson, combining moments of intense improvisation with serene interludes. The 22-minute opening track showcases Rypdal's distinctive, glacier-like melodic lines, demonstrating his mastery and unique approach. His synergy with Stale Storlokken, who has supported him for nearly 30 years, creates an inseparable musical dialogue, while the rhythm section of Torstein Lofthus and Nikolai Haengsle ensures a solid, dynamic foundation. With its careful mix aiming to capture the live concert experience, Catching Fire is poised to be a highlight for fans. The world of Norwegian jazz prog never sounded better.
Review: SuperBlue: The Iridescent Spree is a much-anticipated follow-up to Kurt Elling and Charlie Hunter's last album which was no less than 2021's eponymous and Grammy-nominated album. Once again this pair are blazing new trails and blending new genres across kaleidoscopic collection of new songs. They have reunited for it with Corey Fonville and DJ Harrison and along the way, there are some cheeky and pleasantly surprising covers as well as some smart and dynamic reinventions. A timeless jazz record if ever there was one.
Review: Duke Ellington's Far East Suite, now reissued on 180-gram audiophile orange vinyl LP, is a noteworthy, though often overlooked, entry in Ellington's discography. Recorded in 1966, the suite reflects a time when jazz was tentatively exploring other cultures, with pieces inspired by the band's tour of the Middle East rather than the Far East. While not as celebrated as Black, Brown and Beige or Such Sweet Thunder, Far East Suite captures an intriguing phase in Ellington's career. Composed with Billy Strayhorn, the suite includes gems like Strayhorn's 'Agra' and Ellington's 'Tourist Point of View,' showcasing their enduring creativity even amid Strayhorn's health struggles. This reissue retains previously issued alternate takes and introduces five new ones, though it's hard to add to the original's brilliance. For newcomers, this is a splendid chance to experience Ellington's adventurous spirit; for longtime fans, it's a familiar but welcome revisit. Despite its misnomer and scattered themes, Far East Suite remains a testament to Ellington's enduring legacy.
Love (My Heart, My Mind, My Everything) (bonus track)
Review: This release showcases the Ellington Orchestra performing classic jazz standards, featuring the complete original album Ellington Indigos presse dup to new vinyl. Known for their versatility, Ellington's orchestra didn't just command concert halls with extended suites; they were also a legendary dance band. The album highlights Ellington and Billy Strayhorn's unique interpretations of timeless tunes like 'Willow Weep for Me,' 'Tenderly,' and 'Dancing in the Dark,' all of which ensure an exhilarating listening experience that blends celebrated standards with Ellington's prolific compositions.
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: Back To Back by Duke Ellington and Johnny Hodges is a captivating collaboration that showcases the immense talent of these two jazz legends. It's a record, now reissued by Verve, that features a seamless interplay between Ellington's sophisticated piano stylings and Hodges' soulful saxophone melodies. From the swinging rhythms to the heartfelt ballads, each track exudes a sense of elegance and charm. Whether it's the lively improvisations or the tender duets, every moment on this record is a testament to the mastery of these jazz icons.
First Movement (Fragmented Suite For Piano & Bass) (4:47)
Second Movement (5:08)
Third Movement (3:35)
Fourth Movement (4:57)
Review: Duke Ellington and bassist Ray Brown deliver a riveting performance in this set of duets, evoking echoes of Ellington's earlier collaborations with Jimmy Blanton. The dynamic interplay between piano and bass creates a lively and engaging atmosphere, reminiscent of the groundbreaking work of Blanton in liberating the string bass as a solo instrument. Featuring the four-part 'Fragmented Suite for Piano and Bass' along with five standards, including Ellington-associated tunes like 'Pitter Panther Patter,' the album showcases Brown's creativity and virtuosity on the Blanton model. The music is delightful and often playful, capturing the essence of Ellington's timeless style. Cut from existing metal parts mastered by Doug Sax and pressed at Quality Record Pressings, this reissue offers superior sound quality.
Review: Depending on your personal circumstances, the Covid pandemic was either a blissed-out paid holiday or a stressful and seemingly never-ending time of loss and hardship. Both ends of the spectrum are gorgeously captured here by London-based Joy Ellis, who wrote her third album 'Peaceful Place' during those strange weeks. Though a renowned singer, she decided to strip things back to just piano for this record, with long-time collaborators Adam Osmianski on drums and Henrik Jensen on double bass fleshing out the sound. It is a poignant listen from front to back, with all the many different emotions of that time conveyed perfectly, from grief to uncertainty, hope to despair, in one immersive record. The sheer beauty of these songs and the meaning of the melodies stay with you long after they have finished playing, making this a real triumph out of adversity and one that is sure to stand the test of time.
B-STOCK: Sleeve damaged but otherwise in excellent condition
My Peaceful Place (6:04)
Day Of Rest (6:27)
Eat Sleep Repeat (5:20)
Losing (4:21)
Silver Linings (5:03)
Cascade (5:42)
Begin Again (5:55)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Depending on your personal circumstances, the Covid pandemic was either a blissed-out paid holiday or a stressful and seemingly never-ending time of loss and hardship. Both ends of the spectrum are gorgeously captured here by London-based Joy Ellis, who wrote her third album 'Peaceful Place' during those strange weeks. Though a renowned singer, she decided to strip things back to just piano for this record, with long-time collaborators Adam Osmianski on drums and Henrik Jensen on double bass fleshing out the sound. It is a poignant listen from front to back, with all the many different emotions of that time conveyed perfectly, from grief to uncertainty, hope to despair, in one immersive record. The sheer beauty of these songs and the meaning of the melodies stay with you long after they have finished playing, making this a real triumph out of adversity and one that is sure to stand the test of time.
Review: We were first alerted to the wonderful musical universe of Emahoy Tsegue-Maryam Guebrou back in August when her self-titled album was reissued on this label. We learned that Emahoy was an Ethiopian nun known for her piano playing and musical compositions as well as for singing for Haile Selassie. She then became something of a recluse though spent time perfecting her blues. Her music sales have been used to fund orphaned children in Ethiopia. Jerusalem is the first archival release of her music since 2006 when she was introduced to the world.
Review: Emahoy Tsegue-Maryam Guebrou was an Ethiopian nun known for her piano playing and musical compositions. She sang for Haile Selassie though later retreated from the world and lived barefoot n a monastery where she worked on perfecting her blues sound. She became known as the honky tonk nun and levied well into her 90s. This reissue of her self titled album shows off her unique sound which started with her first violin recital at the age of ten and went on to include piano albums being released with all profits going to benefit orphaned children in Ethiopia. What a woman.
Review: Emahoy Tsege Mariam Gebru remains one of 20th century jazz's most likely heroes: an Ethiopian nun whose piano-playing talent was spotted and encouraged by Emperor Haile Salassie, who paid for her to study and record her earliest albums in Germany. This retrospective draws on a handful of rare albums (and even rarer archive recordings) Gebru committed to tape in the 1960s. It provides an excellent introduction to her distinctive style, which mixed Ethiopian and Western musical modes, with nods aplenty to her musical inspiration, the great Erik Satie. Highlights are plentiful, with our picks including the fresh and breezy 'Mother's Song', the epic and undulating 'Song of the Sea', and the inspired 'Song of Abayi'.
Heaven's Mirror (feat Idris Ackamoor & David Molina)
Iyaami (feat Dele Sosimi)
Spice Routes (feat Nat Birchall)
Sandhyavandanam
Egosystem (Solar Noon)
Reflection (feat Nat Birchall & Liz Elensky)
New Day (feat Ahu)
Heaven's Mirror (reprise)
Minutes To Midnight For This Planet
Raga Requiem (Dusk)
Review: For one reason or another, this is Emanative's debut for London's Jazzman imprint, with the artist having touched most other like-minded labels thus far. Better late than never, we say! It also marks Nick Woodmansey's fourth studio album to date, having travelled through Space and Time, and now landing firmly on Earth. As you'd expect, mystique and experimentation are very much a core part of this LP, morphing at every turn, shifting unpredictably amid jazz flutes, deep cello bass, and a supremely sporadic drumming aesthetic that perfectly encapsulates the 'free' element of jazz. The electronics play a part too, however, adding a noticeable aura to an already atmospheric selection of sonic patterns. A beauty, from start to finish.
Dark As (feat The Maghreban & Tamar Collocutor) (4:52)
Tea Leaf Dancers (feat Vince Vella) (3:51)
The Volume Of The Light (feat Jessica Lauren) (4:43)
Review: London spiritual jazz man Emanative is drummer and producer Nick Woodmansey. He has put out some well received albums on Brownswood, The Steve Reid Foundation and Jazzman Records and also tries his hand - successfully - at electronic music. Vocalist Liz Elensky has been part of the project since 2006 and this album finds the duo head in a new direction that delves deep into electronic sounds but with soulful jazz vibrations and contributions from the likes of Rocketnumbernine, The Maghreban and Khalab & Jesica Lauren amongst others. It results in an album that is as alluring as it is inventive.
Review: Embryo, the music collective from Germany, rekindle the flaming title of "one of the most important German jazz-rock bands from the 1970s" with a brand new mini-LP on Sonarama. A neat collection of unreleased ethno-jazz from 1979-80, its rediscovery in the archives captures the band's formerly-only-hazily documented journey across Afghanistan, North Africa and the Near/Middle East, documenting the German supertroupe's late-career collabs with regional outfits, such as the Kabul Radio Orchestra and players from Eritrea, Syria, Morocco and Iraq. Blending trad melodies with free-flowing improv, this touring jazz explosion flaunts the many scalene modes native to such places; their provenance is esoteric and difficult to track down.
Review: In Wonder Is the Beginning, Empirical epitomizes the essence of contemporary jazz, marked by its creativity and unparalleled virtuosity. The album emphasizing the transformative nature of music and embracing the unknown. The ensemble's profound trust and shared musical journey allow for seamless improvisation, showcasing the synergy that sets them apart. With each note, Empirical invites us to question the boundaries of musical expression and venture into uncharted territories. Their sixth album, Wonder Is the Beginning encapsulates the very essence of Empirical's artistry, reinforcing their enduring impact on the contemporary jazz landscape. Through their unwavering belief in the power of music, they captivate and ignite a sense of wonder, reminding us that the pursuit of the unknown can lead to profound artistic experiences.
Review: German saxophonist Johannes Enders is the dynamic tour de force behind this new record which draws inspiration from Pharoah Sanders' emotional intensity. Along with his band, he creates a unique and original sound that is never derivative of its influences but instead works them into all new forms. Through nine carefully crafted compositions, the musicians build a bridge back to Sanders' legacy while showcasing their own interpretation of his style. The result is a blend of deep, soulful jazz that expands upon Sanders' musical foundations with plenty of swing.
Review: Blue Note's Tone Poet series is one of the most prolific and driven reissuing motors out there, focusing on faithful, audiophile-quality restorations, remasters and re-presses. Next on their list is Brooker Ervin's sax masterpiece Tex Book Tenor (1968). Contrasting to the revolutionary unease of its year of release, Tex Book Tenor abides by the book, bringing together five steady performances, including two covers (of Kenny Barron 'Gichi' and Woody Shaw's 'In A Capricornian Way'), and three originals, 'Den Tex', 'Lynn's Tune' and '204'. The album is soft-spoken in sound here - contrasting to his reputation for tough playing elsewhere - but this variety only proves Ervin's status as one of the fullest vessels around.
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: 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: 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: 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: The Excursion's 1968 album Night Train, led by organist Jerry Allen, fuses jazz, mod and beat influences into a distinctive sound that has stood the test of time. Featuring a cover of the evergreen gem 'Green Onions,' the record epitomises the musical energy of its era and though relatively obscure at the time, it has since gained cult status among collectors. Original vinyl pressings are now rare and highly prized as its unique blend of styles and period charm make Night Train a standout release in British jazz history, which was ever shifting in the 1960s.
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: 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: 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.
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