Back catalogue: Funk Soul & Jazz

Review: Following up 2021's acclaimed Vulture Prince, Pakistini American singer Arooj Aftab collaborates with jazz pianist Vijay Iyer and Shahzad Ismaily on synths to present a striking exercise in dramatic, atmospheric composition. Aftab's voice remains the centre of a creative groupthink which began in 2018, and here the musical ornamentation is turned down to a simmer, eschewing percussion in favour of ambient pastures. There's also space for Iyer and Ismaily to stretch out on their own, but ultimately this is Aftab's vehicle and her voice goes from strength to strength on this standout record.

Review: Pharoah Sanders recorded Thembi in the winter of 1970-71, amid sessions with Alice Coltrane that would culminate in her seminal Journey In Satchidananda album. The same profound spirituality that imbued Coltrane's masterpiece with an aura of serene majesty also permeates Thembi. One of the standout tracks, 'Astral Traveling,' originated from a serendipitous encounter with a Fender Rhodes electric piano. Upon arriving at the California studio, while his bandmates set up their instruments, Sanders noticed the piano and, driven by curiosity, began experimenting with its sounds. This track, with its ethereal quality and innovative use of the electric piano, captures the exploratory spirit and transcendent quality that define Thembi, making it a cornerstone of Sanders' discography and the blueprint to the serendipitous magic of musical experimentation. Thembi offers something very unique for the time in jazz music.

Review: Finally reissued for its 50th anniversary, Love In Us All is a cosmic, uncompromising statement from legendary jazz cat Pharoah Sanders. This vital piece of the free jazz canon was released as his final Impulse! album and starts with 'Love Is Everywhere' which radiates transcendent beauty with layered horns, cascading piano and a repeated vocal mantra evoking the spirit of Coltrane's seminal 'A Love Supreme'. The flip, For John' is raw, chaotic and a furious outpouring of free jazz energy. Long out of print but here remastered, this essential release showcases Sanders' vision in its most fearless, spiritual form.

Review: Pharaoh Sanders has many high-points in his illustrious career, but Black Unity is a truly special, long-form body of work stretching out over 37 minutes of mesmerising, sustained groove. Widely hailed by critics as one of Sanders' most revealing works, he's joined on the 1971 session by Marvin Peterson on trumpet, Carlos Garnett on flute and tenor sax, Joe Bonner on piano, Stanley Clarke and Cecil McBee on bass, Norman Connors and Billy Hart on drums and Lawrence Killian on percussion. Between them, the ensemble guide us through ebbs and flows of majestic power, all elements flowing into one another in a true expression of the unity Sanders spelt out in the title.

Review: Originally released in 1965, this landmark album of meditation features Scott's clarinet playing alongside Japanese musicians on koto and shakuhachi. Its tranquil and lucid sound has captivated artists and collectors globally, providing rich sampling by notable hip-hop and electronic music producers. This album's legacy lies in its ability to transcend time and genres, resonating with listeners seeking a sense of serenity and introspection. With the popularity of ambient continuing to rise and the importance of Japanese influence on electronic music being more and more prominent, this album becomes a more and more important guidepost in music.

Review: Shabaka Hutchings' Perceive Its Beauty is a profound and meditative musical journey that celebrates the richness and grace of African culture. Through a diverse ensemble of renowned musicians, Hutchings invites us to immerse ourselves in a sonic landscape that evokes the beauty and bounty of the Motherland. The album's meditative quality stems from the restraint and collective nature of its creation. The instruments seem to float effortlessly, creating a sonic cloud that carries echoes of Afro-Asian music and the tranquil sounds of nature. Yet, within this understated atmosphere, individual brilliance shines through. The artistry of Jason Moran on the piano and the ethereal voices of Moses Sumney and Eska add layers of nuance and emotional depth. In an era often marked by division and disharmony, Perceive Its Beauty offers a refuge of unity and peace. It invites us to transcend superficial boundaries and embrace the beauty and grace that resides within and around us.

Review: Composer and multi-instrumentalist Shabaka Hutchings releases his sophomore LP Perceive Its Beauty, Acknowledge Its Grace', building on his increasingly impressive career working with Andre 3000, Sun Ra Arkestra and heading multiple bands - not least the, now dissolved, The Comet is Coming. The album marks the king's return to music, following his abandonment of the saxophone in 2023. Here he returns to his original instrumental calling, the clarinet, but a wide array of wind is on offer. The first single, the opening track 'End of Innocence', is a succinct clarinet and piano marriage. The reverberation of the keys softly emanates behind the masterfully controlled clarinet lead, with perfectly placed percussion sprinkled throughout. It's introspective, serene and understated - a supremely narrative feel that only instrumental jazz can give off.

Review: Nina Simone's 1964 album stands as a powerful testament to her unwavering support for the Civil Rights movement, marking one of her most personal and impactful releases during her time with Philips Records. The album captures Simone at her most fervent and fearless, channeling her artistry into a profound expression of social consciousness. Unlike some of her other works, where orchestration sometimes overshadowed her voice, this gem benefits from a minimalistic yet vibrant jazz quartet, which perfectly complements her bold vocal delivery. Tracks like 'Old Jim Crow,' 'Pirate Jenny,' 'Go Limp,' and the titular 'Mississippi Goddam' emerge as potent declarations of African-American pride and resistance, making this album a landmark in the intersection of music and activism. Simone also revisits more traditional material with grace, including her timeless rendition of 'I Loves You, Porgy' and the soulful 'Don't Smoke in Bed.' Verve's Acoustic Sounds series honors this historic album with a meticulously crafted vinyl reissue. Mastered from the original analog tapes and pressed on 180-gram vinyl, the album is packaged in a deluxe gatefold sleeve, offering an audiophile experience that preserves the integrity of Simone's revolutionary work.

Review: ***B-STOCK: Record slightly warped***


The sixth full-length from the incomparable Nina Simone was originally released in 1966 via Phillips Records, and was predominantly comprised of several recordings left over from sessions over the two previous years. Considered by many to be the jazz/soul goddess' most seminal work; the album features some of her most timeless renditions and contributions such as 'Lilac Wine' (later covered by Jeff Buckley), 'Wild Is The Wind' (covered by David Bowie), her definitive version of 'Black Is The Color Of My True Love's Hair', as well as the somewhat controversial 'Four Women', which was banned by New York jazz radio station WLIB due to their ironic misinterpreting of her skewing of black female stereotypes as racist.

Review: Jimmy Smith's The Cat, released in 1964, showcases his incredible command of the Hammond B-3, paired with lush big band arrangements by Lalo Schifrin. This album, which reached No. 12 on the Billboard 200, brings together blues-infused tracks that capture Smith's unique flair and groundbreaking style. Now part of Verve's Acoustic Sounds Series, The Cat is available on 180-gram vinyl, remastered from original analog tapes and presented in a deluxe gatefold. A classic reissue that celebrates the genius of one of jazz's most innovative organists.

Review: The Acoustic Sounds Series from Verve/Universal Music Enterprises reissues iconic jazz records, offering audiophile-grade versions of these historic works. One standout release is Sonny Stitt's Blows The Blues. Originally recorded in 1959 and released in 1970, this album features Stitt on alto sax, accompanied by pianist Lou Levy, bassist Leroy Vinnegar, and drummer Mel Lewis. Stitt, often unfairly compared to Charlie Parker, demonstrates his unique voice and exceptional talent on this record, especially on originals like 'Hymnal Blues' and 'Morning After Blues.' This reissue is meticulously mastered by Bernie Grundman from the original analogue tapes, ensuring the highest sound quality.c.

Review: Sun Ra's musical legacy is a many-sided dice, but if there's one unanimous entry point into his astral adventure it is surely Space Is The Place. Originally transmitted to earth in 1973, this landmark record bursts with life from the opening strains of the title track in all its 20-plus-minute glory. It's no surprise it's come up for a repress via Verve's By Request series, given how essential it is to anyone's understanding of jazz at its most bold and brilliant. This is a record which transcends most typical definitions, breaking down barriers and showing what's possible if we just dare to dream.