Review: This latest is a reissue of a Congress Productions EP featuring their seminal 'Neptune'. The much-sampled early 80s jazz-funk classic comes in original form next to two unreleased cuts. The first is a rare boogie cut 'Live It Up' that has been extended for more dancefloor heft having first been dropped under the D'aile' alias as a B-side. Then comes 'Kevin's Funk' which is named in reference to Incognito trumpet player Kevin Robinson, who played as part of a Congress-associated line-up for this session.
Review: We're not sure who GeeW is but since 2021 they have served up three super fusion EPs, one on Ten Lovers Music and two on Colin Curtis Presents, which is where they return now for the third time. Their Deeper Than Black EP is a magic one that draws on all forms of jazz, soul, Latin, bossa, funk and house to cook up broken beat explorations doused in sunshine and with one eye on the stars. The title cut is a lively and vibrant jam with layers of percussion and mad Rhodes jams, 'Alzira Vida' is a little more chill but no less expertly arranged and 'Ocean Drive' then gets more dance with its prickly broken beats and lush horns. 'Difi The Hifi' is high-paced fusion brilliance.
Review: Karma Chief takes strict instructions from Ghost Funk Orchestra here to 'Walk Like A Motherfucker'. It is a single taken originally from their 2019 album A Song For Paul which was written, arranged, and performed by Seth Applebaum with plenty of sidemen on cello, violin, trombone and trumpet all making it a fulsome and raw funk sound. The vocals are coated in sleazy reverb to add some menace to the sensuality of the tones and on the flip is 'Issac Hayes', another reverb heavy funk chaser.
Review: Jeff Goldblum is a cult movie actor, a famously likeable bloke and also a damn good jazz singer and pianist with many essential works to his name. Now he has released two new singles featuring singer, songwriter and actress Haley Reinhart. Teaming up with his long-time band, The Mildred Snitzer Orchestra, for the occasion, the unlikely but accomplished pair deliver unique covers of Taylor Swift's hit 'Lover' and Loreen's 'Tattoo.' They add completely different musical perspectives to the delightful pop originals and both tunes are sure to appeal to a wide range of music lovers, not just fans of Goldblum.
Review: Spasibo Records has been busy lining up plenty of great funk sounds that all seem to be dropping at once. One of them is this limited yellow and red marbled vinyl from The Great Revivers. The band hail from St Petersburg in Russia and these two instrumental tunes are perfect examples of their lush library funk sound. Both were recorded pre-pandemic back in 2019 at a vintage studio in an old church. The organs really shimmer and bring the heat to opening cut 'Adventures Begin' while 'Estrellas' dial down into a more late night and intimate atmosphere before the funky breaks and neat guitar riffs come on with full force.
Review: The Great Revivers is a funk and library band with a focus on organ laced grooves that hails from Saint Petersburg, Russia. It was formed around a decade or so ago from members of bands Wake&Bake! and The Reggaenauts and has put out a steady stream of very danceable 7"s since then. 'Adventures Begin' is their latest and it comes on the Spasibo label with lashing of loquacious saxophone and some nice loose, live drumming. Flip it over for something more laid back and starry eyed - 'Estrellas' has a soothing late night feel and brims with musicality.
Review: Limited edition 7" comes in just 500 copies and features the American soul-jazz band from San Diego, California, known as The Greyboy Allstars. Memners Karl Denson, Elgin Park, Aaron Redfield, Chris Stillwell and Robert Walter have released six albums to date and originally formed as a backing band for rare groove star DJ Greyboy. Here though is the title track of their 'A Town Called Earth' long player from 1997 and it is one that is sure to appeal to jazz and funk heads who enjoy Pharaoh Sanders and Thembi. The band played seven live-streams during the pandemic and proved they still very much have it.
Review: The Dynamite Cuts label lives up to its name once again here and drops more red hot heat. This time they offer two jazz cuts on 7" for the first time ever and this is a red and white splattered vinyl version, though we also have the black. The tunes have been taken from Dave Grusin's 1965 album 'Kaleidoscope' and still sound fresh. First up is 'Kaleidoscope', a jazzy piano workout with twanging double bass and shuffling drums that lift you off your feet. 'Straight No Chaser' then gets lead by a busy and conversational trumpet that is restless and expressive. Both of these are party starters for those who love that real jazz tackle.
Review: Legendary jazz man and truly free spirited musical maestro Don Cherry joined up with Swiss pianist and composer George Gruntz and his group in Tunisia and Germany in May and September 1969 to record this. It brings together two powerhouses with North-African flavoured deep jazz results featuring piano, cornet, flute and celeste mixed up with various different reeds players as well as a selection of traditional instruments such as the bendir, ney, bagpipes, tabla and darbouka. It all adds up to a mesmerising and trance inducing ritual of jazz magic.
Review: Long-established Italian producer Nicola Conte started working with jazz trombobist Gianluca Petrella back in 2017. In the years since, they've released a string of singles that fuse contemporary house sounds with the rhythms and musical styles of Africa. Here they present their collaborative debut album, People Need People, an effortlessly soulful affair that draws deeply on the pair's joint love of deep jazz-funk (see 'Hold On To Your Dreams') and the funk-fuelled goodness of Afrobeat ('Nigeria'). Throw in versions of those previously released singles (think 'African Spirits' and 'New World Shuffle' for starters), and you've got a highly entertaining full of high-quality musicianship and plenty of life-affirming melodic motifs.
Review: The Fish Factory Sessions is a captivating live studio recording from the dynamic pairing of Greg Foat and Gig Masin. It features two brand-new compositions and two reimagined versions of tracks from their previous album, Dolphin. It was recorded at the namesake Fish Factory Studios in London with Moses Boyd on drums and Tom Herbert on bass. The four pieces are lavish and expansive with free-flowing sax melodies and tingling keys that bring to mind sun reflecting off glistering Mediterranean waters. It's happy, sombre, and beautiful, often all at once.
Review: Painter, musician, actor, director and producer. John Lurie has done a lot in his time, whether that's appearing in 19 movies, composing for 20 TV shows and films - including some of those he was the star of - or producing primitivist art work. Here, we get to engage with two of those back catalogues, even if only because these are scores to a pair of his most iconic flicks. Always cool and stripped, Lurie's stuff is the kind of experimental-leaning jazz that works so well when setting the scene. And this applies off screen, IRL too: pressing play here will only serve to create a mood wherever you are, no matter what you're doing. One of shadowy streets, yellow hued spots, smoky barrooms and dark backrooms, a sense of after hours exploration.
Review: South Africa-based drummer Asher Gamedze looks into the relationship between time, music and history on this exceptional new album Turbulence and Pulse. This is a debut on this notable jazz label for this artist but those who follow free music closely will be familiar with his work such as his ZUZU debut album Dialectic Soul or last year's offering on Astral Spirits, Out Side Work. This album sees him again work with his core quartet from Dialectic Soul, namely South African musicians Thembinkosi Mavimbela on bass, Robin Fassie on trumpet, and Buddy Wells on tenor sax. It results in a soulful and accessible yet forward-thinking sound.
Review: Fifty years into his career, Gary Bartz continues to produce powerful spiritual jazz. In 2020, he collaborated with London band Maisha for Night Dreamer Direct To Disc Sessions and in 2021 he teamed up with Ali Shaheed Muhammad and Adrian Younge for Jazz Is Dead 6, both of which prove that. Now we get a special new pressing of his Live In Bremen 1975 album recorded during a European tour and capturing Bartz's groovy quartet with Chris Mims on keys, Curtis Robertson on bass and Howard King on sticks. The set revisits classics like 'Celestial Blues' and 'Uhuru Sasa' while showcasing Bartz's soulful sax and thoughtful compositions.
Review: LA-based composer, producer, and multi-instrumentalist Sam Gendel's COOKUP is a new album of old material, kind of. It finds him laying down all new interpretations of r&b and soul hits that were first released between 1992 and 2004. It comes on Nonesuch Records and is another showcase of just why Gendel is at the heart of his native scene in Los Angeles. Across 12 glorious tunes his friends and collaborators Gabe Noel and Philippe Melanson help him rework material by greats like Beyonce, Genuwine, Erykah Badu, Soul II Soul and Boyz II Men. A fine collection.
Review: Sam Gendel is renowned for his innovative use of saxophones and wind controllers and with that he brings a fresh perspective to contemporary music. Benny Bock meanwhile is a versatile keyboardist, composer, producer and sound designer from Oakland, California who crafts evocative soundscapes across diverse styles. Hans Kjorstad is the third and final part of this three-way collaboration and is a musician and composer who specialises in contemporary microtonal music while drawing inspiration from Norwegian traditional music and experimental improvisation. Together, their unique approaches push the boundaries of modern music as they weave traditional and avant-garde elements into a rich tapestry of sound that bridges genres and challenges conventions.
Review: It's always a good day when we hear something new from acclaimed saxophonist, composer, bandleader and innovator Camilla George. This third album is another rich, highly cultural mix of afrobeat, hip hop, jazz and Camilla's virtuosic alto saxophone sounds. Plenty of vital talents from the vibrant London scene feature as well as Birmingham's finest MC Lady Sanity. The record is dedicated to Camilla's Ibibio tribe of south eastern coastal Nigeria, and says the artist, is "a celebration of roots, creation and community" and that certainly comes over.
Patience To Find The Start Of The Journey's Path (3:24)
Jimmy’s House Painting (5:20)
For Rinat (4:47)
Contradiction (Improvisation) (1:43)
Allegro (Improvisation) (2:28)
Lento (Improvisation) (1:55)
Language Of The Unheard (4:52)
Choice (Improvisation) (3:29)
Elegy (Improvisation) (3:59)
Let’s Cool One (5:52)
Postlude (Improvisation) (1:35)
Review: Dallas-born bassist Max Gerl, now based in L.A., released his EP Tbilisi independently in December 2019. The EP made a strong impression on one Mr. Cohn who often listened to it that winter. After meeting Gerl in New York City and being impressed by his intense bass playing, Cohn decided to collaborate with him. When it was announced that Stanley Clarke would produce Gerl's solo bass LP, plans for a JMI recording road trip were set and it eventually went down at United Studios in Los Angeles in December 2022 and was "a dream come true," with Clarke offering his expertise and engineers Sebastian Krys and Daniel Galindo crafting exceptional sounds from a new and unknown world of jazz.
Review: Over the years, we've been treated to numerous recordings of Gerry Mulligan and his quartet in concert, most famously in Paris in 1954. The concert captured on this recording - released here for the first time after its rediscovery a year or two back - dates from 1959, was captured on tape in a legendary Copehagen jazz club and features fellow legend Art Farmer on trumpet. Aside from two tracks in which Mulligan switches to piano, the album's key motif is the interplay between Mulligan's impeccable baritone saxophone (sounding a little more soulful than on some recordings) and Farmer's fluid - if sometimes exuberant - trumpet solos. Full of elongated, stretched-out takes full of inspired interpretations of jazz standards and classic catalogue cuts, In Concert is a must-check for dedicated jazz heads.
Review: The late, great Jose Padilla was a big fan of the work of Stan Getz, whose easy-going, sun-soaked and accessible take on jazz - and especially his more Latin-tinged offerings - appeared frequently in the Balearic legend's DJ sets. Jazz Samba Encore, the saxophonist's 1963 collaboration with Brazilian jazz guitarist Luiz Bonfa, remains one of the most unashamedly joyous sets in his catalogue. Reissued here in a Japanese edition, it sees Getz and Bonfa trading solos over luscious bossa-nova and samba grooves. There are plenty of standout moments, with our picks including the dreamy 'Sambalero', the sparkling breeziness of 'Samba De Duas Notas (Two-Note Samba)', the glorious 'Suadade Vem Correndo' and smoky closing cut 'Ebondy Samba'.
Review: Back in 1994, legendary tenor saxophonist Pharoah Sanders joined forces with celebrated "gnawa" musician Maleem Mahmoud Ghania and producer Bill Laswell for an album of far-sighted jazz experiments. For some reason "The Trance Of Seven Colors" was never released on vinyl at the time, meaning that this double LP reissue is a genuine first. The set itself still sounds as fresh and otherworldly as it did back in the 1990s, offering a unique and otherworldly fusion of traditional Moroccan instrumentation, vocals and rhythms, freestyle jazz improvisations and cosmic production from the effervescent Laswell. We can't think of many other albums that are quite like it, which is high praise indeed.
Review: Jakarta Records is mostly known for its superb hip hop but this one is a dazzling album well worth checking. It's a perfect mix of instrumental jazz, soul and gentle grooves that will get you nodding along and lost in the gorgeous melodies from the master of this sort of stuff that is Gianni Brezzo. The Italian has put put several fine albums before now and this collection is another doozy with certain harmonic and rhythmic concepts recurring throughout that drawn on European and folklorist style.
El Preciso Aprender A Ser So (Learn To Live Alone) (3:23)
She's A Carioca (2:19)
Review: There remains great interest in the work of Astrud Gilberto, and much of it is being freshly remastered and pressed up on a constant basis. Her Look To The Rainbow is a captivating journey into the realms of what she did in the bossa nova and jazz. Released in 1966, it showcases Gilberto's ethereal vocals floating effortlessly over lush arrangements as tracks transport listeners to sun-kissed beaches with their infectious rhythms and melodic charm. Gilberto's voice often exudes a tender elegance, while the title track 'Look To The Rainbow' radiates with hope and optimism. With its seamless blend of Brazilian flair and jazz sensibility, this album remains a timeless classic.
Review: Rather confusingly, Beverly Glenn Copeland released a self titled album called Beverly Glenn Copeland in the 1970s, which is not the same album as this one, called simply Beverly Copeland. Both, along with several other of their works, are being reissued at the moment on vinyl and CD as a result of a great reappraisal of their work during the pandemic. The experimental musician identifies as a transgender man and is known for having written soundtracks for Sesame Street and Shiny Time Station next to her jazz, ambient, exotic and electronic fusion records.
Review: Beverly Glenn Copeland's work has been getting revisited, reappraised and reissued plenty in the last couple of years and several of her seminal albums are all arriving in July across various different formats. Copeland was always ahead of their time with her mix of experimental, ambient, exotic electronic sounds and poetry and famously scored kids' TV shows cut as including Sesame Street and Shiny Time Station. Now 78 and identifying as a transgender man after a time identifying as a lesbian, their second 70's recording - this self-titled album - is a real jazz classic widely admired amongst fans.
Review: Godtet is back with his third LP, and one which he calls possibly the finest distillation of his sound yet. Across eight tracks he fuses sounds from around the world that show another organic evolution and draw on three years of gigging, playing and recording music. The record was made with no samples and was wholly improvised and is said to be the final part of a trilogy. The beats are dark and intense at times, but can just as easily be feather light and superbly spacious, such as on the gorgeous 'Sun.' Though these tracks are short, they really are very sweet.
Review: Before landing a privileged spot on the legendary Blue Note label, Manchester's GoGo Penguin had released a string of LPs, through Gondwana Records, that have become notoriously difficult to find. Moreover, they are respected by the very best of the contemporary DJs, including Worldwide FM's ever-present Gilles Peterson. This deluxe edition of V2.0, the ensemble's second studio album, will provide you both with a decently-priced copy of the vinyl edition, along with plenty of added bonus takes and interludes that were missing from the original cut. Thanks to subtle waves of electronica and improvisation, GoGo Penguin are putting the "contemporary" into jazz and, along with that, providing us with an LP that is changing conceptions of the genre for younger audiences.
Review: It has only taken two albums for Chris Illingworth, Nick Blacka, and Rob Turner to land with an LP on the legendary Blue Note label, but they've done it, and they've done it in fine style. Moreover, it's also a bold move from Blue Note, who only usually steer away from pure jazz for the likes of Madlib and co, but in hindsight, the Gogo Penguin trio have what it takes to be remembered as fine producers of beat-driven free jazz. Mixing up elements of nu-soul, together with broken beat and classic jazz, the trio's music is wild and diverse, and fully representative of the label's vision and charisma. Also, it's exactly the sort of thing that Gilles Peterson is in to, so sit back, relax, and let Man Made Object take you away.
Review: Oumuamua is the new album from Golden Mean, who might have impressed you as much as they impressed us with their first EP Through Walls. This outing London's vital Jazz Re:freshed finds drummer Jamie Murray join the group made up of Tom Driessler (who has played with Yussef Kamaal), Luke Wynter and Lyle Barton. Between them they serve up a scintillating trip to the stars on soaring melodies and driving grooves that take cues from scenes like prog-rock, jazz and plenty in between. Though retro synths appear, it is a forward thinking sound full of busy solo improvisation that fits in with the greats of the genre from the 70s onwards.
Often They Came To Visit, Even Just To See How She Was (M1) (2:53)
In More Turbulent Times, She Managed To Take The Perfect Shot (M4) (2:13)
What's Really Important She Wanted To Know (M6) (part 1) (4:25)
What's Really Important She Wanted To Know (M6) (part 2) (3:49)
What's Up Is Not What's Real Most Of The Time (M5) (3:41)
When They Came Closer She Realised They Were Alien Creatures (M3) (3:48)
The Shine Of Gold Was Too Strong (M8) (3:27)
When She Curled Up They Started Dancing (M2) (2:48)
He Was Painting Her Face With Colours She Had Never Seen (M9) (1:11)
I Is One (M10) (4:06)
Review: This is the debut solo album by Italian-born, London-based composer, bassist and vocalist Ruth Goller. It was originally released in 2021 on Bex Burch's Vula Viel Records but quickly sold out with its detuned bass harmonics and dense vocal arrangements. Skylla introduced a sound both otherworldly and unplaceable and Goller's reputation soared as a result. That led to the critically acclaimed 2024 album Skyllumina on International Anthem while Skylla remains the genesis of her distinct style as it evokes the experimental energy of 1980s Downtown NYC or a Bjork-adjacent Icelandic project.
Review: American jazz tenor saxophonist Dexter Gordon was one of the most influential early bebop musicians alongside the likes of Dizzy Gillespie and Charlie Parker. His 1962 album Go on Blue Note was not actually recorded in a club, but in a fashion in the studio that replicated that informal environment. The legendary Rudy Van Gelder oversaw proceedings at his Van Gelder Studio and had Sonny Clark on piano, Butch Warren on Bass and Billy Higgins on drums. Next to tunes Dexter wrote himself are covers of Cole Porter's 'Love For Sale' amongst other highlights.
Review: Super cool jazz cat Dexter Gordon's 1963 album Our Man in Paris marked his first release from Europe and is often regarded as the final bebop album. The saxophonist gathered a quartet featuring bebop legends Bud Powell on piano and Kenny Clarke on drums and they played alongside French bassist Pierre Michelot to record this timeless work at CBS Studios in Paris. The album is defined by Gordon's commanding saxophone with the intricate rhythms of bebop that take you right back to a precise moment of musical history which marked a significant transition in jazz. It remained a defining work in Gordon's career.
Review: By 1962, when Dexter Gordon recorded Go!, he was already a jazz legend and a proven pioneer in bringing bebop to the tenor saxophone in the 1940s. His career had been slowed by personal struggles but signing with Blue Note in 1961 marked a powerful resurgence and led to a series of iconic albums. Go! features a stellar quartet with Sonny Clark on piano, Butch Warren on bass, and Billy Higgins on drums and highlights Gordon's boundless creativity on tracks like the tasty 'Cheese Cake' and his skilful interpretations of ballads such as 'I Guess I'll Hang My Tears Out to Dry' and 'Where Are You.' This reissue comes on nice blue and heavy-weight vinyl.
Review: Fitz Gore was a Jamaican tenor saxophonist who helped the experimental group The Talismen in the mid-seventies. His debut album Theme This is a lost classic that is now getting reissued for the first time. It was originally put out via on Gore's GorBra label and is a sensitive, introspective collection of tracks with "Shepherd" Fitz Gore, Ulrich Kurth, Gerard Ebbo, Philippe Zobda-Quitman and Lamont Hampton making up the band. Next to the originals are covers of John Coltrane's 'Dahomey Dance' and Horace Silver classic 'Song For My Father.' This reissue includes a two-page insert.
Review: Hardcore record collectors love a leftfield talent or outthere artistic character, and the late percussionist Milford Graves certainly fits that biting. He was one of the most unique artists of his time and grew from the states of his native New York to be known around the world for his work in the New York Art Quartet and collaborations with Albert Ayler, Sonny Sharrock and contributions to the NYC loft era free jazz scene. He linked up with pianist Don Pullen in April 1966 for a show at Yale University that marked a real turning point in that it saw him take more creative control having mostly collaborated up until then. Strap in and listen to what he had to say for himself on this fine reissue of recordings from that night.
The Mysterons: Captain Scarlet Main Titles (The Mysterons Version)/The Power Of The Mysterons/Red Vs Blue (1:30)
Winged Assassin: An Officer & A General/The Mysteron Trap/Runway Runaway (4:59)
Point 783: The Oncoming Storm (5:18)
Big Ben Strikes Again: Midnight Runner/Atomic Annihilation/The 13th Hour (7:42)
Avalanch: Chills, Thrills & Spills (2:26)
Model Spy: Serenade De Monte Carlo (3:42)
Seek & Destroy: Walking With Angels (1:38)
Operation Time: The End Of Time (3:06)
White As Snow: TVR-17 Pop/Insubordination/Captain Scarlet End Credits (Original Version) (8:51)
Spectrum Strikes Back: Captain Scarlet Main Titles (Standard Version)/Espionage On The Plains/The Mysteron Threat/Indigo Fever/Bringing The House Down (7:43)
The Trap: Trouble At Glen Garry Castle (3:42)
Shadow Of Fear: Of Gods & Men/Wrath Of Phobos (4:25)
Fire At Rig 15: Fallen Hero (4:13)
Renegade Rocket: Major Disaster/A Wing & A Prayer (3:16)
Noose Of Ice: The Tower Crumbles (2:52)
Flight To Atlantica: Champagne Buzz (3:50)
Expo 2068: Nuclear Detour (2:01)
Attack On Cloudbase: 40,000 Feet To Heaven/Faint & Empty Hope/Captain Scarlet End Titles (The Spectrum Version) (3:54)
Review: Barry Gray's original tapes were the sound source for this newly mastered Captain Scarlet soundtrack. It followed on from the cult classic TV series Thunderbirds and its theme tune was a big 7" on Pye label back in 1967. Now a whole bunch of the music from the show has been collected together across two limited edition, translucent red slabs of vinyl that will be hugely desirable for those who love to collect the more unusual records out there. The eerie electronics, suspenseful passages of ambient and curious library sounds are interspersed with plenty of spoken word snippets which make this a surprisingly involving listen.
Review: Cal Green is a soul guitarist from Houston, Texas who isn't afraid to get as emotional as can be. Here is one of his standout cuts which was made with R&B organist Charles Kynard plus jazz heavyweights Tracy Wright and Billy Moore gets a long overdue repress. 'Tripping' and the reverse side opener 'Sieda' are Cal Green originals that come with hooky melodies that makes perfect jazz-funk listening. The infectious groover will carry you away in no time and this limited edition reuse, the first ever, is sure to fly out so do not sleep.
Review: Blue Note's Tone Poets series is all about celebrating some of the greatest jazz guitarists, reissuing their seminal albums as a nod to virtuoso talent. Grant Green's 1963 album Feelin' The Spirit consisted of jazz arrangements of traditional African American spirituals such as 'Nobody Knows The Trouble I've Seen' and 'Sometimes I Feel Like A Motherless Child'. Given the historical weight of the music, it's no surprise to hear Green soaring high as he expresses the songs through his guitar, but as if that wasn't enough he's backed up by Herbie Hancock on piano, Butch Warren on bass and Billy Higgins on drums.
Review: Originally dating back to 1961, this record by American jazz guitarist Grant Green wasn't released until 1980 by Blue Note Japan. It features a quartet with pianist Sonny Clark, bassist Sam Jones, and drummer Louis Hayes who all back up Green's distinctive guitar work. Clark's soulful piano also does plenty to elevate this one and the synergy between the two musicians is a standout while creating a rich, harmonious atmosphere. Praised for its beauty back then by highly regarded by critics, in 1997 it was included in The Complete Quartets with Sonny Clark, further cementing its significance in jazz history.
Review: Muriel Grossman has already serve up her tune fusion album Union this month with the help from some fine talents including Radomir Milojkovi on guitar, Llorenc Barcelo on Hammond and Uros Stamenkovic's tight drums. But now the sax player is back on the same label with Natural Time, a double gatefold album that features some of the cuts off Union - namely 'Happiness' and 'African Dance' - as well as a few more that are just a s spiritual and sensuous. It is hard to pick a favourite between the two albums so you'll be best off just getting both.
Review: Contemporary spiritual jazz maestro Muriel Grossmann is a sax player, singer and composer who has already released plenty of well regarded albums, but is nowhere near done yet. Universal Code is her latest and is a bumper double that again finds her offering her own unique take on the spiritual jazz template. She once again recalls her recent band mates Radomir Milojkovic on guitar, Llorenc Barcelo on keyboards and Uros Stamenkovic on drums and Gina Schwarz on double bass and they slide into soul jazz sound with straight ahead sounds that soon soothe with breezy soprano motifs and bluesy walking basslines.
Review: You might remember David Grubbs from Squirrel Bait, Bistro, or Gastr de Sol. Codeine, The Red Krayola, Bitch Magnet or The Wingdale Community Singers. New wave or punk. His own output or that of the label he runs, Blue Chopsticks. Whatever reference rings truest, the American composer, guitarist, pianist and vocalist is an enigma responsible for a broad back catalogue of credits, projects, experiments and other. Whistle From Above lands in February 2025 and immediately proves Grubbs' continued genius and refusal to sit still. According to the limited information we have, he began developing these new guitar pieces - best described as somewhere between Fender drone, ambient noise, and musique concrete - following "months of shutdown woodshedding" in which he became "reinvigorated". What resulted was a deep dive into some personal solo arrangements and opportunities to engage with fellow sonic explorers - Rhodri Davies, Andrea Belfi, Nikos Veliotis, Nate Wooley and Cleek Schrey.
Review: Rio de Janeiro's Grupo Ebano is an all-female gospel vocal collective that dropped their self-titled debut album back in 1997. It only came on CD and in limited runs but is one that has grown and grown in terms of allure for collectors so now BBE have pressed it up to wax. It blends the best of boss nova and MPB across a suite of all-original songs written by band leader Gil Miranda. They are all hugely melodic and stylish with hints of 60s and 70s Brazilian classics that deliver positive, uplifting and soulful messages in the lyrics. It's a sure-fire winner with both tastemakers and dancers alike.
Thanksgiving Interlude (alternate take 2, 4 & 6) (0:24)
Thanksgiving Interlude (alternate take 10) (0:29)
Thanksgiving Interlude (alternate take 14) (2:24)
Is It James Or Charlie? (bonus mix with Whistling) (0:59)
Clark & Guaraldi (1:03)
Review: It has been five long decades since the Charlie Brown Thanksgiving episode first hit US TV screens. Originally aired in 1973, the show proved beyond any doubt that Peanuts was the coolest and most sophisticated cartoon of the day, and that's in no small part down to the original scores, which were the responsibility of Vince Guaraldi, and all of which are worth picking up if you see copies on sale.
A Charlie Brown Thanksgiving has never been available on record before, having only recently been rediscovered in the vaults and then primed for this autumn 2023 debut. Remixed and remastered to elevate some of the details that had been lost in the old recordings, tracks run between lounge jazz and soul funk, with 'Little Birdie' arguably the pick of the lot (and not just because it stands out with those iconic vocals).
Review: Brazillian music boffins Mr Bongo have pressed up the 1978 self-titled classic from Guilherme Coutinho E O Grupo Stalo so those who want a piece of this mythical classic no longer have to get a mortgage to do so. It's a stunning mix of lo-fi and laidback tropicalia, jazz, funk and MPB with a signature sun-kissed sound that will melt you into your sun lounger on a lazy afternoon. This one is incredibly hard to find even in Brazil and marked a high water mark for band leader and keyboard player Guilherme Coutinho. He was only 41 when he died in 1983 but his legacy lives on with this album which is distinct from many others of the time with its alluring vocal deliveries and charming arrangements.
Review: Moods and Moods Vol. 2, the sequel to the acclaimed Scandinavian piano trio album Moods, is now available worldwide on double vinyl and featuring renowned bassist Jesper Bodilsen, drummer Morten Lund and pianist Henrik Gunde. This magnificent record captures the artistry and elegance that have made these musicians standout in Scandinavian jazz. With each note and stroke through the course of this album, the skilled trio creates a mesmerising jazz sounds that is distinctive to lovers of Scandinavian stylings and full of expressive piano.
Review: Heavenly Sweetness has always dealt in music for the soul that is drawn from the worlds of funk, soul and jazz. This new collection of such tunes is another testament to that with a heavily international and world bent. Oodles of Latin, hip hop and Afro vibes pervade the tunes by Guts aka Fabrice Franck Henri alongside a whole host of collaborators. He's a super prolific talent who has put out some ten albums in just over a decade and Estrellas is one of his best. It comes on six sides of delicious wax and takes you on a trip to sunny climates from Cuba to Brazil.
El Hijo Del Buno - "La Danza Del Espiritu" (feat Los Gaiteros De Pueblob Santo) (3:32)
De Mar Y Rio - "Bailen Y Gocen" (3:52)
Umu Obiligbo - "Udemba" (3:35)
Amadou Balake - "Massa Kamba" (4:33)
Joi N'juno - "Samemala" (5:18)
Avila Santo - "Wole" (3:44)
Oliver N'goma - "Icole" (5:15)
Patrick Saint-eloi - "Ay Pwan Van" (5:53)
Timothee Et Pot & Co - "Rentre Dans Ton Hlm" (2:59)
Adelasio Muangole - "Nao Fatiga Muangole" (5:24)
Locobeach - "Idea Desesperada" (4:05)
Review: Guts is a renowned French producer, DJ and vinyl connoisseur known for curating impeccable selections of global sounds. He has done so three times before for this series on Heavenly Sweetness and now returns with a fourth volume that arrives just in time for party season. This essential compilation traverses vibrant Latin rhythms, dynamic Afrobeat, soulful grooves and infectious tropical rhythms to make for a far-travelling listen. Again it shows off Guts' unmatched ability to uncover hidden gems and present them with fresh energy in an eclectic yet cohesive celebration of music's global spirit.
Review: Or Bareket is a bassist and composer who is recognised for his great lyricism and rhythmic dexterity. Y?M on Enja Yellowbird is a new work which adds to that reputation and features a vital ensemble of jazz talent including Godwin Louis on alto and soprano sax, Jeremy Corren on piano, Savannah Harris on drums and production by vibraphonist Joel Ross. The LP is something of an evolution for Bareket as a leader and composer as it serves up energetic, focused and emotionally diverse music that reflects the personal and collective reckonings of navigating a post-COVID world.
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