Back catalogue: Funk Soul & Jazz

Review: Analogue Productions' UHQR release of the Bill Evans Trio's Sunday at the Village Vanguard is a pinnacle in high-quality vinyl. Limited to 5,000 copies, this 200-gram 45 RPM 2LP set, mastered by Kevin Gray at Cohearent Audio from the original analogue tapes, offers an unparalleled listening experience. The set includes an eight-page booklet with liner notes by jazz critic Bob Blumenthal, enhancing its collectible value. Regarded as one of the greatest live jazz recordings, the album captures the remarkable June 25, 1961, performance of Bill Evans, Scott LaFaro, and Paul Motian at the Village Vanguard. The trio's exceptional musicianship and improvisational prowess are evident throughout, with seamless interplay and innovative approaches to jazz standards and original compositions. The UHQR Clarity Vinyl pressing at Quality Record Pressings ensures the purest sound quality, with improved dynamics, detail, and tonal accuracy. Standout tracks like 'Gloria's Step' and 'Alice in Wonderland' showcase Evans' delicate touch, LaFaro's inventive bass lines, and the trio's extraordinary chemistry. This release not only celebrates exceptional music but also offers an intimate, high-fidelity listening experience.

Review: Bill Evans' Waltz for Debby, recorded live at the Village Vanguard in 1962, epitomizes jazz's intimate and expressive qualities. As a companion piece to Sunday at the Village Vanguard, this album features Evans' trio in a nuanced, emotional performance that showcases his distinctive approach to jazz piano. The Analogue Productions reissue on 200-gram Clarity Vinyl, pressed at 45 RPM, is crafted to offer an exceptional listening experience. Notable tracks such as 'Waltz for Debby,' along with classics like 'My Foolish Heart' and 'Detour Ahead,' highlight Evans' introspective improvisations and lyrical style. The live recording's atmosphere, with the audience's subtle presence, adds to the album's genuine appeal. This special pressing and full edition is one of the most well produced reissues we have seen in some time. The care, love and hours gone into this is immeasurable .

Review: Boz Scaggs' 1969 album, blending Southern rock, blues and r&b, wasn't a commercial success but it set the stage for his future successes. Recorded at Muscle Shoals with co-producer Jann Wenner, the album captures the raw energy and magic of a remarkable collaboration. Scaggs' smooth, mellow vocals blend seamlessly with the legendary Muscle Shoals rhythm section, led by Duane Allman's iconic guitar work. The album spans multiple genresifrom country-tinged 'Waiting for a Train' to the sultry blues of 'Loan Me a Dime'. The latter, in particular, became a standout, with its extended, fiery guitar solos and a signature groove that captured the imagination of FM rock stations. The album's charm lies in its organic, unpretentious feel, as Scaggs and the musicians create something truly magical over six days of spontaneous recording. It's a celebration of Southern soul with a West Coast twist and it remains a fascinating glimpse into an artist finding his voice in the heart of Muscle Shoals.

Review: What is there left to say about this landmark recording, which captures the heart and soul of pre-revolutionary Cuban music, bringing together veteran musicians whose artistry might have otherwise been lost to time. The result is a stunning blend of son cubano, bolero, danzon and jazz, each track infused with intricate rhythms and heartfelt performances. Flamenco-tinged vocals soar over interwoven instrumentalsieach simple in isolation but collectively forming a rich, textured soundscape. The interplay between piano, guitar and percussion is electrifying, balancing smooth elegance with raw passion. From the hypnotic pulse of 'Chan Chan' to the fiery energy of 'El Cuarto de Tula' and the aching beauty of 'Veinte ANos', the music effortlessly bridges past and present. Moments of exuberance give way to quiet reflection, showcasing the full emotional range of these master musicians. The sharp piano work, the percussive drive and the warmth of the vocal harmonies create an irresistible urge to dance. Even in its most hurried passages, there's an undeniable charmievery note brimming with life. Now presented on a 4xLP gatefold edition, pressed on 180-gram audiophile vinyl and cut at 45 RPM for maximum fidelity, this reissue elevates an already timeless collection. The past lingers in every note, proving that old songs truly do stir old feelings.

Review: This album recorded by Tatum and Webster in 1956 came just prior to Tatum's passing less than two months later. Revered as a masterpiece, the dynamic interplay between Webster's blend of aggression and lyricism and Tatum's flamboyance and delicacy creates a captivating encounter, with Callendar and Douglass providing impeccable support. Reissued previously by Essential Jazz Classics, this new edition adds bonus tracks from a 1953 Tatum solo session and four numbers from a summit meeting between Webster and Teddy Wilson.The opener sets a languid tempo, diverging from the breakneck pace of many bebop jams, establishing the album's relaxed vibe. And even as later cuts quicken the pace, there's an underlying sense of ease that permeates throughout. Tatum's cascades of notes serve as ornamental accents rather than urgent directives, while Webster, despite the excess reverb of the era, focuses on melody.