Back catalogue: All genres

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: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


A striking album of the bop era that was highlighted by his undying conviction and ability to reclaim his status as a primary architect of the genre. The album is built around two exceptional groups: a sextet and a quintet, both anchored by Davis' blue-chip rhythm section of Horace Silver (piano), Percy Heath (bass) and Kenny Clarke (drums). The sextet features trombonist J.J. Johnson and tenor saxophonist Lucky Thompson, while the quintet adds Dave Schildkraut (alto sax), whose contributions, though lesser-known, are memorable. The title track, an extended 12-bar blues, shows Davis' ability to exude an air of detachment from the music, making it feel like an extension of his solo rather than the other way around. 'Blue 'n' Boogie', in contrast, is a lively, energetic tune where Davis and Johnson engage in spirited improvisation, with Johnson even quoting from Thelonious Monk's 'Rhythm-A-Ning'. 'Solar' introduces a delicate interplay, with Silver's piano solo displaying an Ellington-esque elegance. The album's final track, 'Love Me or Leave Me', foreshadows Davis' later breakthrough, with his swift and decisive trumpet solo hinting at the bold innovations to come. Walkin' stands as an essential bop-era classic, with Davis' brilliant command over his instruments and his bandmates, with pieces like 'Walkin'' and 'Solar' cementing its place as a foundational jazz work.

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: 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: Wedged between the high points of Brilliant Corners and Monk's Music, Thelonious Monk's fourth Riverside outing marks a quieter yet pivotal chapter in his discog. Recorded in 1957, a transformative year for Monk, it hears the pianist almost entirely alone at the keyboard, chancing a rare but studious view into his inner compositional world. This session packs a deeply felt solo reading of ''Round Midnight', one of his most enduring pieces, not to mention the cloistered but still group-recorded cut 'Monk's Mood'; the latter track holds special historic significance, as it marks the first recorded appearance of John Coltrane with Monk, alongside unbeaten bassist Wilbur Ware. Though less boisterous than its neighbouring releases, this session reveals Monk in the away-with midsts of a rare creative "zone": distilled, raw, and searching.

Review: The legendary film composer is back with a reissue of one of his most haunting and suspenseful i a perfect canvas for Morricone's groundbreaking score. Morricone's contribution to the thriller genre remains unparalleled, blending haunting lyricism with avant-garde experimentation. This score is no exception. From the eerie waltz of the main title, performed by the ethereal Edda Dell'Orso, to the unsettling dissonance that creeps beneath the surface, every note is designed to disturb and captivate. The music mirrors the film's dark narrative of a journalist trapped inside his own lifeless body, racing against time to solve a chilling conspiracy. Originally intended for a vinyl release in 1971, the full score was shelved until a limited CD surfaced in 1998, followed by an expanded 2009 edition that quickly sold out. This newly remastered release by Chris Malone is a great way to experience Morricone's work, offering a pristine listening experience for both avid collectors and newcomers. Accompanied by insightful liner notes from Miguel Angel OrdoNez, it stands as a great addition to any film score collection.