Back catalogue: All genres

Review: Bassist and composer Joe Sanders shows he is unafraid to explore every side of his artistry with his new, genre-blurring album Parallels. It is a mix of live recordings with Seamus Blake, Logan Richardson and Gregory Hutchinson and dreamy, studio-crafted pieces with Jure Pukl and Taylor Eigsti that, between them, bridge signature East Coast grit and famous West Coast introspection. From intimate family moments to lush Italo-disco textures, Sanders threads his acoustic and electronic sensibilities into a cohesive overall listen that has plenty of fearless jazz exploration, deep groove and all-important emotional nuance. It is the sound of a musician at the height of his creative powers who is as curious as he is versatile.

Review: Recorded live at Copenhagen's Jazzhus Montmartre in 1963, Sahib Shihab's performance captures the moment when the saxophonist and flautist fully embraced both his roots in bop and his growing affinity for the avant-garde. Joined by an impressive cast of musicians, including flugelhornist Allan Botchinsky, guitarist Ole Molin, drummer Alex Riel, and the prodigious 17-year-old bassist Niels Henning Orsted Pedersen, the set unfolds with elegance and innovation. The opening '4070 Blues' is an exuberant, hard-bop driven piece, setting the tone with its intricate brass and rhythm section interplay. 'Charade' slows things down, bringing a contemplative, balladic feel, allowing Shihab's sax to shine. On side two, the ambitious 'Conversations' suite spans three parts, each delving into the complexities of improvisationirhythmic shifts and interplay between the musicians give the track a live energy that feels spontaneous yet controlled. This reissue, with audiophile-grade pressing, offers a fresh perspective on a key jazz moment.

Review: British singer-songwriter Shura has spent some serious time, effort and thought on I Got Too Sad For My Friends. Six years, in fact. During that period, she's clearly learned at lot about life, love, loss, and whatever other L-word you can think of that means 'maturity' to those in the know. The result is a spectacularly accomplished collection that reveals an artist at their creative peak. To date, anyway. Cornerstone of the record, and the very first single, is 'Recognise', and this is perhaps the strongest case in point. From whispy and whispered opening, through full, cacophonous bloom, it's a track that keeps us in a beautiful dark until its monumental, joyful reveal. Elsewhere, 'Ringpull' and 'The World's Worst Girlfriend' betray a clear penchant for classic 1980s pop, while the likes of 'Online' seem to float in on a serene cloud of gentile pianos and hovering strings.

Review: Originally released in 2008, Manifesto captured Canada's The Souljazz Orchestra in full stride i locked into deep Afrobeat, but stretching further into spiritual jazz, militant funk and raw soul. It's one of their most focused records, recorded live with no overdubs, and it still hits hard. Tracks like 'Parasite' and 'People, People' feel especially relevant now, tackling inequality, media spin and class struggle with sharp lyrics and a driving sense of purpose. There's fire in the horns, urgency in the rhythm, but also a feeling of hope and collective strength. The band has offered plenty of highlights since, but Manifesto remains a standout i lean, direct and full of intent.