Review: The celebration of this series continues with a reissue of the second installment of the legendary Christmas salsa album. Willie Colon and Hector Lavoe returned here to bring the unique sounds that made Volume I a Latin music classic. For this one, Colon and Lavoe were joined by renowned cuatro player Yomo Toro and legendary percussionists Milton Cardona and Jose Mangual Jr. Together, they crafted salsa versions of beloved Puerto Rican Christmas songs while mixing traditional musica jibara with Cuban guaguanco, son montuno and African-American jazz. It delivers on all fronts with vibrant, festive blends that bring real Puerto Rican authenticity to salsa fans worldwide.
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: 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.
Somethin' 'Bout My Love (feat Polly Gibbons) (4:07)
Eleventy-Three (feat Danny Keane) (3:34)
There's Nothing You Can Tell Me (feat Yvette Riby-Williams) (3:26)
Fluoresce (feat Valerie Clarke) (5:01)
Review: Since 2009, Hackney Colliery Band has redefined brass band music and captivated audiences with dynamic live performances and critically acclaimed releases. Now, 15 years into their career, the nine-piece collective prepares to unveil their sixth album, Collaborations: Volume Two. Following the success of Collaborations: Volume One, which featured world music icons like Angelique Kidjo and Mulatu Astatke, this new album shifts focus to vocal tracks alongside instrumental pieces featuring harp, guitar, cello, and conch shell. Frontman Steve Pretty and fellow composers say it was the joy of innovation that fuelled the album, which includes collaborations with DJ Yoda, Joe Armon-Jones and more.
Review: You can probably work out what's going on here from the title: a superb collection of reworked Hall & Oates classics inna reggae style. They are the fine work of Black Market Dub who likes to reimagine classic sounds through a 70s Jamaican lens. The techniques used throughout are superbly authentic with hissing hi-hats, lazy tumbling beats and snaking baselines. The vocals remain in their original, often polished, falsetto style and extra horns are added for a lush sunny impact. Great fun, but also great quality.
Review: The Alt label hits its second record with a sterling cast of wayward techno bods in tow. Things fire up in a tough and trippy manner as Delta wrings all kinds of tricky noises out of his gear and keeps the bass brooding in the low end, but hold tight for a perfectly 90s chord progression in that pad line. Cabanelas has a bleepy mission on 'Sambu Y Los Morsas' which flits between creepy passages of tension and acid tweaking drops. Z@p keeps things melancholic while adhering to the record's over-arching old-skoool outboard vibe, and then Justin Drake and Quinn Whalley sign the record off with a slice of proto trance for the deepest of 90s-tinted dancefloor reveries.
Review: As part of his Gondwana label's 10th anniversary, masterful Manchester trumpeter and contemporary jazz trendsetter Matthew Halsall has put together a special deluxe edition of his beautiful "Colour Yes" album with thick reverse board sleeves, silver block letter foiling and two printed inner sleeves. First released in 2009, the album showcases Halsall's deeply emotive style across the 8 achingly good, supremely spiritual tracks that glow with gorgeous piano playing, gently lilting drums and his own fantastic leads.
Review: Trumpeter, bandleader and composer Matthew Halsall has established himself at the forefront of the contemporary jazz scene. In part that was down to his landmark album, An Ever Changing View, which is an expansive project blending jazz, electronica, global and spiritual jazz influences. Now reissued, the album highlights Halsall's signature meditative sound while showcasing his most experimental work yet, pushing boundaries with innovative production techniques. Composed in striking modernist settings with breathtaking views, the album captures a sense of openness and escapism and embraces a fresh start after Halsall reset his creative approach and explored sound with complete freedom to craft a deeply immersive and transformative record.
Review: Second time around for Matthew Halsall's sixth solo album, Salute to the Sun, a set that many critics cited as being among the best contemporary jazz albums of 2020. As the title suggests, it's unarguably Halsall's most summery album to date, with the celebrated bandleader and trumpeter - accompanied by some of Manchester's most accomplished players - offering up a swathe of relaxed, life-affirming compositions that combine modal and contemporary jazz themes with gentle, Latin-influenced rhythms, breezy instrumentation (harps, kalimbas, marimbas and so on) and subtle nods towards Charles Stepney and Terry Callier. Some of the woodwind and brass solos are similarly superb, while the album's sun-soaked, easy-going atmosphere is alluring whatever the weather.
The Curse (Blood Of An Innocent Is Spilled) (5:38)
The Bird Of A Thousand Voicesf (3:28)
Areg's Calling (Towards The World Above) (5:06)
The Quset Begins (4:40)
The Path Of No Return (3:12)
Areg & Manushak (He Saw Her Reflection In The Water) (3:59)
The Saviour Is Condemned (1:54)
Guidance (Areg Meets Zaman) (2:21)
Flaming Horse & The Thunderbolt Sword (From The Depths Of The Sea) (3:46)
Red, White & Black Worlds (6:14)
Bells Of Memory (2:05)
Only The One Who Brought The Bird Can Make It Sing (5:23)
Prophecy Of A Sacrifice (4:10)
The Demon Of Akn Anatak (2:16)
Temptations (Follow The Luminous Feather (2:34)
Forty Days In The Realm Of The Bottomless Eye (He Brings Light Into The Soil Of Evil) (3:56)
He Refuses To Be Immortal (The Goddess Of Paradise Gives Him The Enchanting Bird) (4:27)
The Return (Through Vast Deserts, Seas & Dark Mountains) (2:59)
Betrayed By Brothers (1:55)
The Well Of Death & Resurrection (4:41)
Sing Me A Song When You Will Be At The Place Where All Is Bliss (2:30)
The Eternal Bird Sings & The Garden Blooms Again (5:57)
Postlude: After Seven Winters (2:23)
Review: Tigran Hamasyan's latest album, The Bird of a Thousand Voices, is his most ambitious work yet and one inspired by a traditional Armenian tale. This transmedia project includes a staged play that premiered at the Holland Festival back in June of this year plus two cinematic music videos, a documentary video, and an online game. The ancient firebird tale, passed down through spoken word over the generations, symbolises the modern world's quest for connection amidst ecological, psychological, and spiritual challenges. By blending Armenian traditional music with jazz improvisation, Tigran, who himself is one of today's most innovative jazz pianists, continues his artistic collaboration with filmmaker Ruben Van Leer to create unique musical experiences.
Review: Johnny Hammond was a prolific organist, composer and multidisciplinary artist active throughout the USA for the majority of the 20th Century. By the time the lesser-known LP and meditation on devilish excess 'Gambler's Life' was released in 1974, Hammond's sound had grown unusually cacophonous and was noisy to a kind of perfection that could only be described as an acquired taste. That doesn't deter us, though: this reissue from Soul Brother carefully pays homage to the late great's 28th album, with the broken wonk of 'Rhodesian Thoroughfare', the voluptuous funk of 'Star Borne' and the melismatic virtuosity of 'Virgo Lady' all tempting us back towards the broad gate.
6,000 Drunks Clinging To A Landslip (part 1) (1:43)
Morning Walk (5:05)
Pool In The Rose (6:02)
The Upturned Glass (part 1) (5:26)
The Upturned Glass (part 2) (7:49)
Evening Song (4:40)
6,000 Drunks Clinging To A Landslip (part 2) (4:02)
Review: Since first joining forces in 2017, Warren Hampshire and Greg Foat have released some of the most magical albums of recent times - sets that cannily combine their mutual love of pastoral music, jazz-funk, library jazz, soundtracks and heady downtempo grooves. The Upturned Glass, the pair's sixth collaborative full-length, is another genuine gem. Highlights come thick and fast, from the skewed, lo-fi jazz-funk warmth of 'Pool In The Rose' and the string-drenched beauty of opener '6,000 Drunks Clinging to a Landslip' (an amusing title for a genuinely moving track), to the chiming, low-slung brilliance of the two-part title track and the emotive, slow-motion ambient-folk beauty of 'Evening Song'.
Review: Blue Note's Classic Vinyl series is about reissuing vital jazz records on heavyweight vinyl with all new mastering by Kevin Gray of Coherant Audio. Next to get the special treatment it deserves is Herbie Hancock's 1965 classic Maiden Voyage, which is some of the most evocative jazz to have ever been recorded. Net to Hancock, the players were all either present or past members of Miles Davis' quintet, so made for a heavy line-up. Hancock's impressionistic style is here for all to hear with the sublime compositions of 'Dolphin's Dance' and 'Maiden Voyage' and more tumultuous sounds of 'The Eye Of The Hurricane' some of the highlights.
Review: Jazz pianist Herbie Hancock sure did love to record music. The New Standard was his fortieth, four oh, album and not by a long way was it his last. It came in 1996 on the Verve label and is the sound of the great American musicians offering up his own jazz renditions of classic and more contemporary rock and r&b tunes. The star-studded sextet also features saxophonist Michael Brecker, guitarist John Scofield, bassist Dave Holland, percussionist Don Alias and drummer Jack DeJohnette with some of the original tunes by the likes of Peter Gabriel, Prince, Kurt Cobain and Stevie Wonder.
Review: Those interested in Japanese cartoons should know Space Adventure Cobra. First broadcast in 1982, it is now considered one of the country's finest animated TV series. This triple-vinyl box set celebrates Kentano Haneda and Yuji Ono's music from the series, combining compositions featured on the show with unheard extended versions and tracks that never made the cut first time round. Musically, it's a mix of Japanese disco, sax-sporting lounge jazz, jazz-funk, neo-classical movements and eccentric interludes, all doused in layers of cosmic dust and stargazing colour. The release also comes packaged with a 12-page booklet telling the story of the series and the making of the appealing, endlessly entertaining soundtrack.
Tell Me What You Want (with Manasseh Telsumbini Mashi) (3:58)
Where Do We Go From Here (with Mr Maph) (3:25)
Weekend (with Mr Maph & David A Tobin) (3:41)
Is This Love (with Jai) (3:26)
Be With You (with Andre Espeut) (4:10)
Be Alright (with Manasseh Telsumbini Mashi) (3:22)
Jackpot (with Poetic Justice) (2:53)
Let It Go (with David A Tobin - Boogie mix)
Review: Rob Hardt is a prolific multi-instrumentalist and producer and has spent 30 years crafting hundreds of songs and working with international artists. Known for his influence on soul, funk, rap, and r&b, Hardt leads the band Cool Million which boasts millions of streams on Spotify and Apple Music. His productions are robust and packed with authenticity so always manages to cut through to the big time. This new album is a collection of those sounds, drenched din soul, and featuring plenty of great collaborations that have helped bring his musical visions to life.
People Get Funny When They Get A Little Money (4:34)
LA Carnival (7:55)
Ski Ball (5:16)
Three Quarter Miles (6:02)
Silver Plated (4:19)
Hal Strange (5:23)
The Time Of My Life (3:50)
Step Down To The Top (2:55)
Review: Eddie Harris was an iconic American jazz musician who revolutionised the genre by introducing the electrically amplified saxophone. With a prolific career spanning over 50 albums, Harris seamlessly blended jazz with funk, earning Grammy Award nominations for two of his groundbreaking records. Among them, the 1983 release People Get Funny..s' stands out. Featuring tracks like 'People Get Funny When They Get A Little Money' and 'La Carnival' which exemplify his signature jazz-funk fusion with captivating vocals and scatting, it las has other gems like 'Silver Plated,' which showcase a more traditional jazz-hard-bop style. Accompanied by talented musicians like drummer Carl Burnett, electric pianist William S. Henderson III, and bassist Larry Gales, this limited edition release of People Get Funny... is pressed on translucent pink vinyl.
Review: An Evening With The Devil is regarded as one of the Tribe Records label's finest ever releases - an unrestrained free jazz expression from Wendell Harrison that is packed with forward-thinking grooves. The Detroit reedman was always in a class of one and he showed it here with a record so heavy it was way ahead of its time. Now though it's regarded as a classic with trumpet from Marcus Belgrave, Charles Eubanks on keyboards, Ike Daney on drums, and Will Austin on bass. There are also some spoken word passages from the Black Messengers making this a jewel of the jazz underground.
Review: Here comes a special Japanese edition of Harvey Sutherland's superb Boy album. Since debuting in 2013, Mike Katz has released a lot of music under this alias, always flitting between interconnected styles (electronic disco, deep house, jazz-funk, nu-boogie, revivalist New Jersey garage and Italo-disco) without ever laying down an album of all-new music. Boy, then, is a significant milestone in the Melbourne producer's career and offers an exploration of what he calls "neurotic funk" - a boundary-blurring fusion of jammed-out analogue electronics and live instrumentation that draws on a multitude of musical styles without neatly sitting in any one pigeonhole.
Review: Brainfeeder looks back to Japanese hybridist Hakushi Hasegawa's first album Air Ni Ni here and reissues it on limited grey marbled vinyl. Although on the surface it might be thought of as pop, get in between the beats and you will find a challenging record that fused everything from bubblegum pop to breakcore, prog jazz to video games and much more besides. The record first came in 2019 and remains astonishingly diverse and new in the way it mashes up traditional genre boundaries and draws on alt-rock. Fans of label head Flying Lotus are sure to love it as is anyone who heard it first tie round.
Review: Two Johns unite: griot and kora master John Haycock, hailing from Manchester, and fellow multi-instrumentalist John Ellis, team up for the spiritual-visionary album 'Didymus'. Enlisting a ragtag band of musicians to produce something far beyond what the average folk artist can make on their own, the album centres on a single mantra: 'visions create'. The aim is to sonically chart a roadmap towards a bright future, a feat that seems impossible: the means are sequenced electronic, dub-psychs flourishings, solstice chants, and poetry from a band of wordsmiths such as Rob Dunford and Sunflower Bill.
Review: This is a bold, progressive funk album from one of the genre's masters in Isaac Hayes. Although Hayes who was rooted in r&b was often overlooked in favour of prog-rock bands like Emerson, Lake and Palmer, his music was just as expansive and expressive across his career. This album served as the soundtrack for Hayes' first major film role and perfectly matches the gritty, exaggerated tone of the movie. Over time, its tracks were reimagined and sampled and influenced works from Geto Boys to Quentin Tarantino films, which has ensured it a lasting legacy in both cinema and music history.
Review: The original motion picture soundtrack for The Truck Turner delivers a thrilling blend of gritty funk, soul and high-energy jazz that perfectly complemented the 1974 blaxploitation classic. Composed by the great Isaac Hayes, the soundtrack is a dynamic showcase of his signature style that blends soulful melodies with intense orchestral arrangements. Tracks like 'Main Theme' and 'Breaking Into The Business' capture the raw energy and tension of the film while Hayes' deep voice and lush arrangements bring an added layer of sophistication to the score.
From Life Comes Beaut (feat Immanuel Wilkins) (8:46)
Portrait Of Guess (8:46)
Exoplanet Suite: I Elliptical Orbit (feat Christian McBride) (8:23)
Exoplanet Suite: II Three Sunlights (7:24)
Exoplanet Suite: III Planet Nine (9:57)
Review: Composer and conductor Miho Hazama celebrates ten years of her respected M Unit project with an all new album performed by it. Beyond Orbits is a vibrant work that is also a fine testament to her endless creativity within the world of jazz. In the last decade she has played all over the world but the album was written in the confines of her flat during the pandemic in New York. But you wouldn't know it because like Afro-Futurists before her she looked outwards to the stars for inspiration. Effectually the album pays homage to the captivating wonders of the exoplanetary realm in majestic fashion.
Review: In many ways, this album by the Heavy Hitters delivers everything jazz enthusiasts crave: an all-star ensemble, blues-rooted improvisations and original compositions that enrich the modern jazz repertoire. This live recording captures the deep emotions and authentic feelings that make such performances truly special. It is full of electric solos and dense melodies, shuffling rhythms and "lightning in a bottle" moments where fresh nuances emerge with every listen. Recorded after a two-week tour, the album culminated in a memorable performance at Frankie's, one of the world's finest jazz clubs, and is well deserving of your ears.
Review: A rare reissue for one of the most sought-after records in Finnish jazz history: the sole studio album by electric piano wizard (and bandleader) Heikko Sarmanto's short-lived quintet. Recorded and first released by EMI Finland's jazz department in 1971, Counterbalance remains a unique and hugely enjoyable album that joins the dots between warm and largely laidback contemporary jazz, jazz-funk, more pastoral folk-jazz fusion, and more high-octane, spiritual jazz-inspired improvisations. It also boasts some genuinely life-affirming flute and guitar solos amongst the rubbery double bass, loose-limbed rhythms and Sarmanto's inspired keys-work. Helpfully, this edition also boasts an insert with extended liner notes telling the story of this inspired cult classic.
Review: Finnish fusion five-piece the Heikki Sarmanto Quintet recorded and released their sole album, Counterbalance, way back in 1971. Brought together by bandleader and Rhodes electric piano wizard Heikki Sarmanto, the band burned brightly briefly before vanishing into obscurity. Svart Records has - wisely, given its cult status - decided to reissue the album, this time on translucent green vinyl and accompanied by extensive liner notes. It remains a unique and hugely enjoyable album that joins the dots between warm and largely laidback contemporary jazz, jazz-funk, more pastoral folk-jazz fusion, and more high-octane, spiritual jazz-inspired improvisations. It also boasts some genuinely life-affirming flute and guitar solos amongst the rubbery double bass, loose-limbed rhythms and Sarmanto's inspired keys-work.
Review: Call on the old Wise is a magnificently captivating solo album that was largely improvised in the moment. It finds pianist Nitai Hershkovits delivering some of his best work as he draws on a wide array of influences that go from his extensive work in the jazz world to more cutting-edge and contemporary explorations via plenty of his own personal classical music experiences. In it, there's a great balance of light and dark, heavy and more airy as well as rich arrays of colour and timbre. It was recorded in 2022 and produced by Manfred Eicher following his work with Oded Tzur's quartet on two acclaimed albums, Here Be Dragons and Isabela.
Review: Habibi Funk does a great job of introducing or reacquainting the world with niche but rich musical scenes from all across the Arab world. This latest album takes us to the reggae sounds of Libya and specifically the work of Ibrahim Hesnawi, who is known amongst those who know as "The Father of Libyan Reggae." He draws on roots, dub and dancehall with a distinctive Arabic twist that plots a line from Tripoli to Kingston. This artist is so revered for the way he fused the those two musical worlds so effortlessly while colouring it with elements of jazz, soul and disco. An enchanting album that was first recorded more than 40 years ago.
Review: Danish electronic pop act Hess Is More's CaeKE marks a return to pop's borderlands after detours into orchestral and experimental sounds. Minimalist and mellow, the new album eschews sprawling ensembles for a DIY space of piano, drum machines, and vintage synths all of which frame Hess' wandering voice with eccentric poetry. Balancing maturity with childlike curiosity tracks like 'I Love My Life... Again and Again' exhibit a subversive lightheartedness amid mellow existentialism. The album is a reflection on fatherhood and life's changes since the early 00s that finds Hess embracing a new melody-one that harmonises seriousness with carefreeness, introspection with outward expression.
Review: Japanese prodigy Ino Hidefumi has completed Memories, his ninth original album here after following his unique journey at his own pace. Crafted entirely in his home studio, the album features his stripped-down compositions and distinctive voice after many years of writing songs but never actually singing on them himself. Shared with the world from his bedroom, the music's simplicity, its careful use of space within the ensemble, and the soothing electric piano create a captivating sound. This latest work captures a fresh, unfiltered essence while also conveying the artist's unwavering strength and sharpness as he continues to evolve his musical expression.
Review: Inocology by master pianist Ino Hidefumi is one of many great examples of his unique blend of jazz, funk, and soul and it brims with the Japanese artist's signature laid-back style. The album features mellow grooves, smooth basslines, and warm, analogue synths that are both nostalgic yet timeless. Tracks like 'Ants Funeral Procession' and 'Space Butterfly' are standout highlights of his skilful fusion of genres that blend organic instrumentation with deft electronic touches. this is one of the prodigy's many great albums and is denied by its relaxed tempo and soothing melodies so it is a perfect soundtrack for unwinding into a dreamy, soulful world.
Review: Hats off to Jamal Moss for the tongue-in-cheek title of his latest album as Hieroglyphic being, which is naturally another pleasingly wild, freewheeling, imaginative and out-there excursion in his now trademark style. It sees him sprint between mutant electronic jazz ('Circumploar'), out-there analogue techno ('21 Days'), organ-rich post-beatdown chuggers ('Foreboding Self Pleasure'), reverb-laden ambient soundscapes ('A Dream Within a Dream', 'Delta Opus L'), industrial-strength dancefloor weirdness ('The Prograde Direction'), sub-heavy lo-fi deep house ('Black Love On An Early Sunday Morning'), sparse electronic future funk ('Future Shocked'), and jacking, sci-fi seeped brilliance ('The Andromeda Strain'). In other words, it's another excellent collection from one of dance music's genuine geniuses.
No Matter How Far We Are, We Can Always Share The Moon & Stars
Purple Skies With Cotton Candy
An Eternal Star Beyond The Firmament
Helium Three
Mawu
Review: The inimitable Jamal Moss comes forth with his second offering for Madrid's Apnea records. 'The Moon Dance' unfurls over 11 tracks- in turns pensive, elegiac, and slammin'. Between the sedate expanse of opener 'When The Earths Shadow Falls On The Moon' and the final cymbal strokes of gauche, machine funk closer 'Mawu', Moss lifts us on yet another Afrofuturist space flight of fancy, passing through superclusters of deep house, tactile techno and stroboscopic piano jams along the way.
Standout moments include the smoove-as-u-like-it intergalactic lounge jazz diversion 'The Moondance Moon Walk Version'; its steezy stride-piano vamp seamlessly intertwining with Moss' signature babbling acid intrusions, the irresistibly groovy bump of 'Tethered 2 The Divinely Spaces With In' and the hypnotic sway of 'Celestial Poems Of The Lady With 10000 Names', which opens up from Terrence Dixon-esque introspection into broad windy city string washes and synapse-tickling bleeps. With this collection, Moss pens yet another crucial chapter in the seemingly bottomless hieroglyphic being scroll. While 'The Moon Dance' is one of his most accessible and harmonious works to date, it doesn't lose an ounce of the rawness and immediacy of his previous work. Essential listening!
Review: Since launching two years ago, Tony Higgins and Mike Peden's J-Jazz series has become an indispensable guide to Japan's modern jazz scene. The third volume continues in a similar vein to its predecessors, gathering together sought-after, overlooked and little-known cuts from across the jazz spectrum (think spiritual, modal, fusion, post-bop and Latin), all of which were recorded by Japanese artists in the 1960s, '70s and '80s. The standard of music is, somewhat predictably, breathtakingly high throughout, with highlights including the weighty post-modal bop of Koshuke Mine's 'Morning Tide', the sun-kissed Brazil-inspired brilliance of Hideo Shiraki's 'Groovy Samba', and a string of funk-fuelled, dancefloor-friendly workouts from Hiroshi Murakami & Dancing Sphynx, Shigeharu Muka and the Ryojiro Furusawa Quartet.
Review: American jazz pianist and composer Andrew Hill originally released his Point of Departure album in 1965 on the Blue Note label. He found him playing in a sextet alongside the talented likes of alto saxophonists Eric Dolphy and Joe Henderson plus trumpeter Kenny Dorham and drummer Tony Williams as well as bassist Richard Davis. The record was remastered for a CD release in 1999 by the legendary Rudy Van Gelder and even now it stands apart as a future jazz statement. Some of the tracks are heavy on melancholy to the point that Dorham would occasionally tear up when playing them live.
Review: With this Unplugged album, American r&b and soul great Lauryn Hill veered away from the hip-hop influences of her groundbreaking debut The Miseducation of Lauryn Hill in 1998 to embrace a more stripped-down acoustic soul and folk sound. Humorously dubbing herself a 'hip-hop folk singer,' she adopted the role of a folk artist for the set and performed solo with just her acoustic guitar. Rather than revisiting her previous hits, Hill introduced entirely new material in a folk style, often taking time between songs to openly discuss her personal and artistic struggles and offered a raw and introspective glimpse into her journey.
Review: A great celebration of brass-driven music that mixes up traditional New Orleans jazz with modern funk, soul and hip-hop influences. This dynamic ensemble delivers electrifying arrangements and infectious grooves from front to back, all of which transport listeners to the lively streets of a second-line parade. Each track on Krewe showcases the group's masterful musicianship with bold horn lines, tight rhythms and an undeniable sense of joy. Perfectly balancing tradition with innovation, the album is a great showcase of the power of brass music to uplift and energise.
Review: World-renowned pianist Hiromi is a hugely prolific artist and Out There is her 13th studio album. Despite her output, she continues to show innovation while fusing jazz styles into her own sound. Here she is joined by her band Sonicwonder, featuring Adam O'Farrill on trumpet, Hadrien Feraud on bass and Gene Coye on drums. Together they deliver an electric and dynamic performance that pushes the boundaries of jazz while coming steeped in exceptional musicality and innovative approaches. Having performed at prestigious jazz festivals worldwide and received accolades from major outlets like the New York Times and NPR, Hiromi shows she is far from done yet with this double album.
Review: Hiroshi II Hiroshi was a one-off project from Hiroshi Fujiwara and Hiroshi Kawanbe which came out on File Records in 1993. It's a flawless gem of island boogie smoothed out to a gentle lull, buffeted along by breezy guitar licks and mellow Rhodes, quite happily reclining on a melodious phrase or two for as long as necessary to ensure ultimate relaxation. 'H2O' in particular is a float-adrift masterpiece, while 'Beauty & Beast + Bagel (Dub)' teases a little intrigue in amidst the placid waters without kicking up a fuss. Now it's being repressed on appropriately clear blue vinyl, bringing a perfect nugget of chill-out charm within reach for all your lounging, poolside or hammock-based needs.
Review: Since her 2019 joint LP These Days with Daniel Casimir on jazz re:freshed, Tess Hirst has been crafting her debut solo album which now finally sees the light of day. It features Richard Spaven on drums, Sarah Tandy on piano, and Tomorrow's Warriors StringTing, all under the production and arrangement of Casimir, who also plays various basses. Magic celebrates inspiring women and pays tribute to Hirst's West London roots with a lead single that embodies resilience, while 'A Seed' transforms challenges into beauty, 'Reckoning' is smoky downtempo bliss with Hirst's ethereal voice always the main attraction.
The Burden (I Turned Nothing Into Something) (feat Angel Bat Dawid) (3:11)
The Same Stars (feat Joe Minter & Open Mike Eagle) (4:46)
Kings In The Jungle, Slaves In The Field (4:45)
Strength Of A Song (with Alabaster DePlume) (2:57)
What's Going On? (with Isaac Brock) (3:24)
Fear (2:15)
I Looked Over My Shoulder (with Billy Woods) (2:54)
Did I Do Enough? (with Jesca Hoop) (5:43)
That's Not Art, That's Not Music (3:38)
Those Stars Are Still Shining (with Saul Williams) (0:56)
A Change Is Gonna Come (4:33)
Review: Tonky is a collection of found sounds and intimate storytelling reflecting his life of survival and invention. The album's title comes from a childhood nickname given to Holley when he lived near a honky tonk. Opening with the nine-minute 'Seeds,' the song builds from a sparse sound into a complex symphony, blending chants, keys, strings and Holley's raw voice. The track explores themes of hard labour, violence and the failure of home and Tonky is an album of abundance that shows Holley's mastery in combining personal narrative with expansive sound, all while featuring contributions from various talented artists.
The Same Stars (feat Joe Minter & Open Mike Eagle)
Kings In The Jungle, Slaves In The Field
Strength Of A Song (feat Alabaster De Plume)
What's Going On? (feat Isaac Brock)
Fear
I Looked Over My Shoulder (feat Billy Woods)
Did I Do Enough? (feat Jesca Hoop)
That's Not Art, That's Not Music
Those Stars Are Still Shining (feat Saul Williams)
A Change Is Gonna Come
Review: Lonnie Holley crafts music that is immersive and expansive, rich in both sound and storytelling and that's the case once more on this new long player. If finds Holley craft a symphony of sounds that stitch together effortlessly, each moment feeling like a discovery. The album's opening track, 'Seeds,' sets the tone with its nine-minute journey weaving sparse sounds, chants and Holley's powerful voice to explore themes of survival, pain and the failure of home while 'The Same Stars' (feat Joe Minter & Open Mike Eagle) brings more yearning and lyrical depth. Tonky is an album that invites you to listen closely and reflect deeply.
Review: Chicago-native Cecil Lyde's Home Boy And The C.O.L. album is often said to be his standout work. It dropped back in 1984 with his Home Boy group and was a swift follow up to 1982's self titled debut. Earlier works were defined by a lovely lo-fi aesthetic while this record goes big right for the off with an eight minute epic to kick off. 80s electro-funk then defines much of the rest of it with all sorts of big hits along the way. It makes for a luxurious listen with some self-reflective tunes like the ballad 'I Don't Want To Be A Movie Star,' and then some tension building and passionate vocal harmonies. This reissue comes a limited edition LP with obi-strip.
Racecar Driver (feat Kirby, Hether & Girl Named Golden) (3:57)
So Get Up! (feat Minova & Michael Rault) (3:21)
Wishing Well (feat Girl Named Golden) (3:39)
Hide It Behind The Light I'm Shining Through (feat Girl Named Golden) (2:57)
Start Select (feat Hether) (3:03)
Forever & Ever & Ever & Ever (feat Hether) (3:30)
Goldie (feat Dave Guy) (4:07)
Review: Homer Steinweiss, is a veteran drummer who is credited for bringing "retro soul" back to the mainstream with artists like Amy Winehouse and Sharon Jones, is stepping into the spotlight with Ensatina, his debut solo album. After the emotional turbulence of 2020, which included the breakup of his band Holy Hive and the end of a long-term relationship, Homer sought help and poured his journey into music. The album's first track, 'Now That It's Over' is a powerful reflection on resilience, with haunting vocals by Hether. Across the rest of the album, Homer blends soul, melancholy and inspiration and shows he is a wonderful solo artist with a sound all of his own.
Review: Fans of this one have long been waiting for a reissue and it is now finally here. It's a soundtrack to the movie Marusa no Onna which was directed by Juzo Itami and was set in the National Tax Bureau Inspection Department. The film's main theme marks the start of the album with its epic sax melody. It really shows off Toshiyuki Honda's impressive sound and kicks off an immersive and evocative record that was first released back in 1987 and has been a real digger's delight ever since.
Review: It was 10 years into his career that Horace Silver made this album - the one that many regard as one of his very best - at the famous Van Gelder Studio with Blue Mitchell, Junior Cook, Gene Taylor, and Roy Brooks. It captured his quintet's transition and came a year ahed of another recording session that gave rise to his definitive hit, 'Song For My Father', which is also included as a tribute to his father, who was of Cape Verdean heritage. This Blue Note Classic Vinyl Edition is an all analogue affair that has been remastered by Kevin Gray from the original master tapes, so sounds superb.
Review: Accomplished American jazz pianist Horace Tapscott recorded a seminal album with his quintet in 1969 The Giant Is Awakened. A follow-up album was recorded but never released, locked away in the Flying Dutchman archives until today. This three-track avant-garde session features the same players from The Giant Is Awakened - Arthur Blythe on alto sax, Everett Brown Jr on drums and David Bryant and Walter Savage Jr on bass. It wasn't long after this Tapscott retreated from the mainstream music industry to record in a low key fashion and eventually establish the Pan-Afrikan People's Arkestra, but The Quintet captures a special moment in time never heard before a dream come true for Tapscott fans and jazz lovers of all stripes.
Review: The classic album Mr. Wonderful by Japanese jazz vocalist Ayako Hosokawa has been reissued here on nice heavyweight vinyl and it includes a booklet with further context from Sony. Hosokawa has long delighted fans with her soulful renditions of jazz standards and this album was originally recorded in 1982 with her rich, emotive voice paired with impeccable instrumentation bringing timeless tracks like 'Mr. Wonderful' to life. Hosokawa has expressive phrasing and a delicate balance of warmth and precision that creates a sublime jazz sound that's both intimate and sophisticated.
Review: I Will Always Love You: The Best Of Whitney Houston should be in everyone's collection. The American R&B great reached heights that few artists ever have or ever will. Her tragic demise means that her legacy is persevered while she was still at the top, and this posthumous greatest hits album - originally released in November 2012, but only now landing on wax - includes tracks from across her whole career. There are remastered versions of 'Greatest Love Of All,' 'I Wanna Dance With Somebody' and 'I have Nothing' as well as a previously unreleased song 'Never Give Up.' It's one that you will keep on coming back to time and time again.
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