Review: A really cool concept from Expansion here; one side is a reissued seminal classic, the other is a contemporary version. And what a way to start the start the series; hard bop hero Johnny Hammond influenced pretty much every soul, jazz, rare groove and funk artist who've followed in his path, and the joyously unpredictable "Los Conquistadores Chocolates" is one of his best. Naturally Japanese jazz outfit Quasimode are an ideal remix choice. Known for their wildstyle riffage and signature switches, they've paid the utmost respect to Hammond.
Review: Herbie Hancock has been responsible for many era-defining records over the years - "Rockit" being a particularly good example - but few of his compositions have been quite as game changing as "Chameleon". First featured on 1973 album "Head Hunters", the 15-minute epic was revolutionary in a number of ways, not least in its use of a killer 12-note bassline, "percussive" style guitar parts and loose-limbed funk beat. It remains one of the greatest jazz-funk moments of all time, as this timely reissue proves. This time round, it comes accompanied by another "Head Hunters" classic - Hancock's groovy, synth-laden re-recording of his own 1962 composition "Watermelon Man". Two stone cold classics for the price of one: what's not to like?
Review: Legendary bandleader Eddie Palmieri took a rare groove excursion from his Latin legacy in the early 70s for two albums as Harlem River Drive. Criminally overlooked, Soul Brother have dusted off two of the many highlights from his self-titled debut; "Idle Hands" is a sleazy, Gaye-style message with an almost spoken word quality to the vocals and a smoky wooziness to the horns while "Seeds Of Life" is a real end-of-set belter that rises and rises with tight orchestration between the guitar, horns and drums. Incredible... This can't be slept on this time round.
Review: Detroit-born jazz musician Wendell Harrison did a lot of seminal work with the likes of Phil Ranelin and Tribe in the early part of his career, but he's also slipped out some seriously funky wares like this rare joint originally from 1982 on Wenha Records. Athens Of The North are champions of such records, picking them up, showing them some love and getting them out to a fresh audience, and so it goes on this killer 7", which flips the A and the B so Harrison's version of Stevie Wonder's 'Rocket Love' gets up front in all its groovesome glory.
Review: Haze, an Exeter band that in 1981 endlessly toured the South West of England and released the album "SILVERTOPS REFLECTS HAZE" upon which many contemporary tracks were given the Haze treatment from Barry Manilow's 'I Can't Smile Without You' to Johnny Cash's 'Ghost Riders in the Sky'. In the mix Azymuth's Latin funk anthem 'Jazz Carnival' and Space's legendary electronic 'Magic Fly' surfaced, the latter two of which make up this exceptional 7" release by Panorama records, this relatively new label that celebrates idiosyncratic rarities. Haze seem to like breaking down the original and making space between the beats and yet on this A side an already pumping track pumps faster with an extra electronic edge on the Moog-ish organ, whilst paradoxically Haze's lead guitarist takes on Jose Roberto Bertrami's originally syncopated keys in a more regulated way - not a bad thing if not a jazz dancer but someone who just loves to dance! Intelligently, Panorama have coupled this with Haze's percussion heavy version of 'Magic Fly' on the B side, that even if it remains more so electronic, even poppy, it nicely compliments the Brazilian homage of side A. If you love a rare version, 7" 45s and early 80s jazz funk with a synthesised edge you'll love this.
Jackie McLean & Michael Carvin - "De I Comahlee Ah" (extended) (12:22)
Chris McGregor's Brotherhood Of Breath - "MRA" (6:48)
Review: The cult Melodies International label run by Floating Points and Mafalda starts a new series here. Melodies Record Club will find each curated by a different guest DJ or producer with the first one selected by the always on point Kieran Hebden aka Four Tet. He picks some of the tracks he used to spin at the legendary Plastic People and first up is an extended version of 1975 tune 'De I Comahlee Ah' by jazz stars Jackie McLean and Michael Carvin. Chris McGregor's Brotherhood Of Breath takes care of the flip with the big band energy and excellent horn work of 'MRA.'
Review: While best known for their funk and soul reissues, Dynamite Cuts do frequently dig deeper and look further afield for musical inspiration. They're at it again here, offering up a lavishly packaged "45" featuring two killer cuts from Brazilian saxophonist and flautist Hector Costita's jazz-funk/jazz-fusion album 1981 (which, you guessed it, was first released in 1981). A-side 'Avessos' is warming, gentle and groovy, with Costita's jaunty sax motifs rising above a samba-jazz beat, restless triangle percussion and some seriously toasty electric piano lines. 'Divagacao' is a more up-tempo nd rhythmically interesting affair that reminded us of Azymuth while also boasting some genuinely dazzling sax solos.
Review: 'The Catfish' by Peter Herbolzheimer is a thrilling addition to Dynamite Cuts' 7" series, featuring the German big band jazz maestro's powerhouse sound. Originally recorded live at the renowned ONKELPO in Sweden, this release features two monster tracks that pack a punch. On the Side-1, 'The Catfish' delivers a heavy moog and drum groove layered with outstanding horn sections, creating an electrifying atmosphere that is sure to get listeners moving. Meanwhile, the Side-2 offers 'Head Egg,' an uptempo and powerful groove with a banger of a drum loop that will leave audiences craving more. For fans of big band funk and jazz, this 7" release is a must-have addition to any collection, offering irresistible energy and infectious grooves that will captivate music lovers of all stripes.
Review: Freddie Hubbard's 1979 version of 'Little Sunflower' is a soul-jazz classic. Since the full version of Hubbard's vocal re-make (the trumpeter first recorded an instrumental take in 1968) only ever appeared on a hard-to-find promo 12", this Record Store Day reissue should be an essential purchase. It remains a gentle, breezy and sunset-ready jazz-dance gem, with Hubbard's emotion-rich vocals and mazy trumpet solos riding Latin-tinged percussion, elastic double bass and some suitably jammed-out jazz pianos.
Review: Some expansive, cinematic, orchestral spiritual jazz for you here, from the trio of talents that Fumio Itabashi, Kuniyiki and Henrik Schwarz. While the latter two are generally better-known for their deep and sometimes tech-tinged house and ambient productions, the original mix of 'Watarese' (featured here on side B) is a dense, immersive jazz soundscape laden with evocative Japanese vocals, improvised piano, moody orchestration and definite nods towards vintage free-jazz. Spiritual Life supremo Joaquin 'Joe' Clausell provides the remix and, somewhat predictably, steals the show. His take is gently rhythmic, sun-splashed spiritual jazz full of hand percussion, fluid piano motifs and rubbery double bass.
Review: Mongo Santamaria's 'Green Onions' here (a cover of the iconic Booker T standard) is a classic cut that showcases the legendary Cuban percussionist's mastery on the drums. First released in 1969 alongside the nighttime swayer 'In The Midnight Hour' , the single hears a funking reissue here that once more shines a blinding light on Santamaria's deft ability to blend originally American compositions with Latin rhythms and soul-jazz structures.
The Tony Williams Lifetime - "Happy Tears" (feat Laura Logan)
Haxmjolk - "Eskimo Heat"
Review: Jazz Peace has been digging in the archives to put together this new and limited 12", 'Happy Tears'. The original 1975 studio sessions captured the essence of Stockholm, Sweden, with tracks from the unreleased album Wildlife. Recorded during a pivotal moment in the mid-70s, this 45 offers up raw, unfiltered material that offers a glimpse into the creative process of the era. The music blends rich instrumentation with experimental flair that delivers a unique sound that's both nostalgic and timeless.
Review: Two titans of African music come together for a collaboration that will sadly never be repeated after the passing of the late Hugh Masekela. Allen's instantly recognisable drumming and Masekela's iconic trumpet are a match made in heaven - after all their paths first crossed back in the 70s thanks to Fela Kuti's galvanizing energy. Forget the throwback stuff trying to capture the spirit of the originators, this IS the originators sounding cool and deadly in every way. Funk lovers, Afrobeat heads, curious ears and dancing souls take heed - this right here is an unmissable transmission from two grandmasters in their field.
Review: Tension sees Ethio-jazz innovator Mulatu Astatke join forces with Tel Aviv's Hoodna Orchestra, creating a vibrant fusion of Astatke's signature sound with the orchestra's Afro funk dynamism. This collaboration is a masterclass in blending classic Ethio-jazz with contemporary influences. The album kicks off with 'Tension,' a track that infuses Astatke's enchanting vibraphone with a powerful rhythm section, driven by Matan Assayag's energetic drumming and a compelling brass motif. 'Major' later introduces a joyous, swinging groove, showcasing the orchestra's chemistry and Drabkin's stellar organ solo. Tracks like 'Hatula' and 'Yashan' capture a blend of intricate melodies and traditional Ethio-jazz flavours, while 'Delilah' reverently nods to Mulatu's early Latin-jazz roots. The album concludes with 'Dung Gate', a slow, mesmerising piece featuring Birenbaum's layered percussion and the brass section's evocative presence. Tension stands out as both a tribute to Astatke's legacy and a groundbreaking exploration in Ethio-jazz, marking a high point in the Hoodna Orchestra's evolving sound.
Review: Long regarded as one of the most prolific producers of new age music, Steven Halpern has released an astonishing number of albums since making his debut 45 years ago. Even so, few of his full-lengths are quite as sought after as the LP that started it all, 1975's "Christening For Listening: A Soundtrack For Every Body". Here it gets the reissue treatment, admittedly with a relatively limited pressing. The album is rich and evocative, joining the dots between new age, ambient and experimental jazz, with the seven-part A-side "Spectrum Suite" offering a slowly shifting journey that should really be listened to in its entirety. Closer "Subtle Body Suite", a moody, up-tempo dancefloor jazz number full of squally trumpet solos, is also incredible.
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.
Review: Matthew Halsall's trajectory as a leading light of spiritual jazz in the UK continues apace with his stellar new album An Ever Changing View. Restlessly prolific and drawing from a seemingly bottomless well of ideas, he approached this record as a reset of sorts, affording himself freedom to explore sound in all aspects. The end result remains true to his velvet-smooth approach, delivering understated instrumental flourishes around delicate grooves to make for the gentlest of access points for the labyrinthe halls of jazz, but as ever there's much nuance and complexity bedded into these delicate compositions to yield new discoveries over repeated listens.
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: Reissued on Gondwana after an unexpected sea-change, Matthew Halsall's Bright Sparkling Light was originally conceived as a tour-only exclusive, its three exquisites, averaging seven to ten minutes per suite, serving only the most loyal and dedicated of fans eager enough to clasp their mitts around the limited edition at the time of his EU and UK tour in October-November 2023. Now, its rarefied airs get dropped; so too do the folk scramble to lend it a second listen, discovering Halsall's preference for hypnotic drones, tenor sax progressions crafted around lush flute loops, and portrayals of the artist's favourite rural location: Newborough Forest, both at daytime and nighttime. 'The Tide And The Moon' is the closing highlight, nicely closing the gap between dewey morning and crept-in crepuscule.
Review: Following 2014's When The World Was One, Halsall and the Gondwana collective continue their spiritual jazz adventure with another immaculate narrative. Now with much more vocal prowess, singer Josephine Oniyama plays a lead role in the story, adding consistency and personality to the Halsall's swooning, cinematic odysseys. Highlights include the Hathaway-style half spoken/half sung "Badder Weather", the frenetic double bass and brushed drum crescendos of "The Land Of", the (lark) ascending strings and oriental scales of "Cushendun" and the smoky, faraway Coltraneisms of the title track. Modern jazz doesn't get any more authentic than this.
Review: Chico Hamilton's The Dealer receives a well-deserved reissue on vinyl for jazz enthusiasts in 2024. Originally released in the midst of the vibrant 60s jazz scene, the album showcases Hamilton's exceptional talent as a drummer and bandleader, with a seamless blend of jazz, funk, and soul, dynamic rhythms and melodic improvisations. Hamilton's distinctive style and innovative approach to composition shine through each track, leaving a lasting impression on the listener. This warranted and welcomed reissue allows both longtime fans and new generations to experience the timeless brilliance of Hamilton's music, reaffirming his status as a jazz great.
Review: Classic jazz funk album from the legendary Johnny 'Hammond' Smith with a special version with six previously unissued bonus out-takes. Released in 1975 and his 32nd long player, it heralded a fresh chapter in his career that saw him exploring more electronic instrumentation and deeper shades of funk in a similar way to Roy Ayers or Bob James. The result was a timeless document that carries motifs of many of today's artists; the harmonies of "Can't We Smile?", for instance, smack of Plantlife while the punctuated piano work and mirrored squiggling synths on "Song For The Family" echoes with Flying Lotus-style whim. Also a key source of breaks for many junglists, Gears is a historic document that's not only played a strong role in electronic music but still sounds incredible today.
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: Recognised as one of the most prolific jazz pianists of all time, Herbie Hancock played with greats such as Donald Byrd and Miles Davis. He was one of the first to embrace and master the electric piano. He bounced back and forth between his electronic and acoustic sound, touching upon almost every development in R&B, funk and jazz while retaining an original and distinctive voice. Fat Albert Rotunda is the eighth album by Hancock, released in 1969 and his first release for Warner Bros. since his departure from Blue Note Records. The music was originally done for the TV show 'Hey, Hey, Hey, It's Fat Albert' and was a noticeable change in style - incorporating soul music as the basis of his compositions.
Review: Fat Albert Rotunda represents one of Herbie Hancock's earliest forays into jazz-funk and is centred around the music he composed for the Fat Albert cartoon show. Released between his landmark album Maiden Voyage in 1965 and the classic Head Hunters from 1973, it stands out in Hancock's catalogue - despite said catalogue being so packed with gems. The album features funky tracks like 'Fat Mama' and jazz-oriented tunes such as 'Tell Me A Bedtime Story', wih Hancock supported by a stellar sextet including Joe Henderson on tenor sax, Johnny Coles on trumpet and Buster Williams on bass. Although Hancock's work spans various developments in jazz, funk, and r&b, he always maintained a unique voice, and this is a great example of it at its most distinctive.
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: Blue Note's Classic Vinyl Series turns its focus to the one and only Herbie Hancock here for another superb reissue that will keep the jazz heads happy. His long player Empyrean Isles landed in 1964 as his fourth overall. For this one Hancock linked up with his Miles Davis bandmates including Ron Carter on bass and Tony Williams on drums with Freddie Hubbard also on board with his trusty trumpet. The record works through hard bop and modal as well as plenty of soulful jazz sounds and is another standout in Hancock's discography.
Review: Speak Like A Child by Herbie Hancock is a groundbreaking album that defies categorization, blending elements of post-bop, modal jazz, and funk into a cohesive and forward-thinking sound only to be slotted into a wide spanning genre like Jazz-Fusion. The title track, 'Speak Like A Child', is a standout composition that highlights Hancock's signature piano playing, characterized by its lyrical melodies and inventive harmonies. The album features intricate arrangements and complex rhythms, with each track offering a unique sonic journey for the listener. Hancock's ability to push the boundaries of traditional jazz while maintaining a deep respect for the genre's roots is clear throughout the album. 'Speak Like A Child' remains a landmark recording in Hancock's discography, cementing his status as one of the most influential figures in modern jazz.
Review: This 50th Anniversary Edition resurrects a forgotten gem of 1970s soul-jazz, showcasing the masterful arrangements and musicianship of The Harold Wheeler Consort. It's a thrilling colliision of jazz harmonies, funk grooves and soulful melodies, with Wheeler's piano leading the way through a series of vibrant and eclectic compositions. From the infectious energy of the title track to the smooth sophistication of 'Then Came You', the album is a testament to Wheeler's talent as a composer and arranger. The B-side continues the journey, with tracks like 'Color Me Soul' and 'Feel Like Makin' Love' showcasing the band's versatility and deep understanding of soul and jazz traditions.
Review: The Three Sounds, one of Blue Note's most productive acts, evolved significantly by 1970. Under the leadership of pianist Gene Harris, the trio welcomed bassist Henry Franklin and drummer Carl Burnett into its ranks, infusing their blues and gospel foundations with a funkier, more vibrant rhythm. This shift is brilliantly captured in Live at the 'It Club', a rousing live recording that highlights their transformation. The record demonstrates how the trio, especially through Burnett's drumming and Franklin's basslines, pushed their sound into funkier territories while maintaining their soulful hard-bop roots. The rhythm section's infectious groove drives the music, giving it a loose, swinging feel where the groove is paramount. Tracks like 'Funky Pullett' and 'Love for Sale' showcase this new dynamic, where the interplay between the trio adds layers of grit and soul to their performances. Live at the 'It Club' remains a thoroughly enjoyable listen with the trio's unique blend of soul-jazz with a fresh, funky twist proudly presented.
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