Lynn Williams - "How Can You Call Love Fascination" (2:26)
Review: Jimmy Bo Horne brings his raw and expressive vocals to this new release on Japanese label Ultra Vybe. The oft-sampled America singer, writer and producer has been turning out such sounds since the mid 70s but remains on top of his game here. The big horns bring energy, the rolling rhythm section gets you up on your feet and the whole thing screams floor filler. On the flip is Lynn Williams with 'How Can You Call Love Fascination,' a much more slow and sensual soul tune with acrobatic vocals and nice piano fills next to a big horn section.
Review: It might be getting cold and dark and wet here in the UK but music will always be able to transport us to warmer, sunnier, happier climes. And so it is with this new 7", which includes a booklet, from Discodelic. It's a two tracker from Cizana and La Nueva Generation that is flame hot and bristling with energy - Cizana's 'She Sold Her Soul' kicks off with its joyous flutes, hand drums and percussive Latin grooves then La Nueva Generacion slow things down and up the brass with their carnivalesque Afro-funk workout 'Uhru Sasa'.
Review: Mr Bongo's brilliant Brazil 45 series is never more relevant than in the warmer summer months. The latest transmission from the South American country's golden period is again well mastered and cut nice and loud so that the super addictive vocal o the a-side really lodges deep in your brain. It also has a nice boogie bassline and plenty of funk in the drums. Flip it over for a more driving and hard hitting bit of samba rock with MPB grooves and a call and response male/female vocal that says over the high speed grooves.
Review: Rindert Lammers' debut LP is a kaleidoscopic suite in five movements; pelican wingspans of twinkly, retentive but then also generous jazztronica, centring on two distinct themes: Japanese cinema and YouTube confessions. Japanese culture is seen through a grateful lens, as theatrical titans such as Kirin Kiki are homaged; the B1 especially is inspired by a poignant moment in the actor's portrayal of Hatsue Shibata in the 2018 film Shoplifters. Seemingly firstly inconsequential digital traces are lent an upscale gravitas, meanwhile, as a voice clip from a YouTube comment on an algorithmically boosted Hiroshi Yoshimura video evolves into the ride-embellished upswell 'Thank You Hiroshi Yoshimura'. Mastering the art of appreciation from afar, Lammers brings a mood of gobsmacked reverence for Japanese enviro jazz and its offshoots, suspending us over an endless realm of forms circa 1989.
Review: Dynamite Cuts has done it again here. Celebrated American bassist Curtis Lundy called upon his sister Carmen for her vocal talents for this wondrous vocal jazz cut. 'Never Gonna Let You Go' is powered by a superb double bass groove, with lush xylophones and plenty of lively drums al backing the acrobatic vocal performance. It has never before been pressed up to 7" is a serious must have for collectors, especially as it is backed with the wonderful walking basslines and feathery light snares, meandering keys and seductive jazz melodies of 'Jabbos Revenage'.
Review: Rashied Ali had a unique talent for transforming unlikely sound pairings into masterpieces. Following Interstellar Space with John Coltrane and Duo Exchange with Frank Lowe, he joined forces with violinist Leroy Jenkins for this album in 1975. Jenkins was fresh from the Revolutionary Ensemble and composed all pieces for this rare duet, which is now reissued on vinyl for the first time in nearly half a century. The deluxe set includes an unreleased session exploring standards, the sounds of Coltrane and some truly wild improvisations. A top treasure for jazz-heads.
Review: Record Store Day and Black Friday 2023 continue to serve up the treasure even now as we roll into 2024. This latest pice, Creative Improvisation Ensemble, is from Marion Brown and Leo Smith who explore an experimental and avant-garde world of challenging jazz. It is freeform, unbound by rules and expectations and very much keeps you on your toes as the saxophones burst to life, express tortured emotions and peel away to nothing. Some cuts are more heavily percussive with tribal drums like 'And Then They Danced' and others are persuasive numbers that make you move.
Dark As (feat The Maghreban & Tamar Collocutor) (4:52)
Tea Leaf Dancers (feat Vince Vella) (3:51)
The Volume Of The Light (feat Jessica Lauren) (4:43)
Review: London spiritual jazz man Emanative is drummer and producer Nick Woodmansey. He has put out some well received albums on Brownswood, The Steve Reid Foundation and Jazzman Records and also tries his hand - successfully - at electronic music. Vocalist Liz Elensky has been part of the project since 2006 and this album finds the duo head in a new direction that delves deep into electronic sounds but with soulful jazz vibrations and contributions from the likes of Rocketnumbernine, The Maghreban and Khalab & Jesica Lauren amongst others. It results in an album that is as alluring as it is inventive.
Review: Ella Fitzgerald and Louis Armstrong came together first of all for their 1956 album Ella and Louis. Just a year later, the enduring jazz icons hooked up once more on Verve Records for the simply titled Ella and Louis Again. It was recorded at Radio Recorders and Capitol Studios in Hollywood and where their first album was all duets, this one features seven solo vocal tracks by either Armstrong or Fitzgerald amongst its dozen duet tracks. Louis only played trumpet on six of these tunes but there was such a vibe between the two artists that it was never seen as an issue.
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: A stunning album of big band music from Finnish composer, Kerkko Koskinen, featuring Linda Fredriksson on saxophone and the UMO Helskinki Jazz Orchestra, Agatha 2 is a sequel of sorts to their original Agatha album released in 2007. Tracing Koskinen's signature immensely emotive and dramatic approach to composition, this album sits beautifully between moody atmospheres and fully immersive rushes of cinematic sound. It is clear that Fredrikkson and Koskinen share a clear vision with her solo performances shining against the undulating orchestral backdrop. Taking on a distinctly melancholic and nostalgic mood, especially with the pieces 'Promenade' and 'Piana', the drums are positioned at a purposeful distance to the driving dynamics of the composition, adding a hint of melodic colour to the overall piece rather than being a central force. An inventive project that journeys forwards and backwards in time.
Review: Few sounds transcend time like Afrobeat, and few artists defined it as profoundly as Tony Allen who has long been the genre's legendary heartbeat. In 2011, Allen recorded a masterful rhythmic session for Comet Records' Afrobeat Makers Series where his drumming, unconstrained and deeply expressive, speaks a universal truth through its unique cadence. On this album, La BOA-La Bogota Orquesta Afrobeat-engages Allen's legacy in a remarkable dialogue led by Daniel Michel. The Colombian band blends Afrobeat's essence with their unique rhythms and merges Caribbean beats, Pacific grooves and Andean influences into a fittingly lively tribute and a seamless cultural exchange where Bogota meets Lagos.
Review: La Clave's self-titled album from 1973 is a refreshing mix of Latin rhythms and the vibrant sounds of the city of San Francisco. Formed by nine musicians from Mexico, Panama, Cuba and Puerto Rico with Benny Velarde at the helm, the group blended their rich cultural backgrounds with the soulful and experimental music scene of the Bay Area during that period. This unique mix created a joyful, energetic sound that still lures you in to this day, which is why this mini-classic gets reissued as part of the Verve By Request series.
Lost & Looking (Colleen 'Cosmo' Murphy Cosmodelica remix) (3:43)
Collage (Bruise remix) (3:43)
Review: Set for release on 28th October, the deluxe edition of Lady Blackbird's debut album 'Black Acid Soul' comes with a staggering 11 additional songs, encompassing brand new material such as stunning single 'Feel It Comin' and remixes commissioned by the likes of electronic, jazz, funk luminaries Emma-Jean Thackray, Colleen 'Cosmo' Murphy and Greg Foat.
Review: Guitar virtuoso Julian Lage's Speak To Me is a dynamic Blue Note album produced by Joe Henry. Arriving with 13 original tracks, Lage's compositions navigate a rich tapestry of American music genres, from gospel hymns to California singer-songwriter vibes and skronky jazz. The album's lead single '76' showcases a hard-driving blues essence, while 'As It Were' offers an atmospheric acoustic ballad. With contributions from Kris Davis, Patrick Warren, Levon Henry, and his trusted trio with bassist Jorge Roeder and drummer Dave King, Lage presents a multifaceted musical journey that captivates and enthrals in equal measure here.
Review: Reissued and remastered for the first time, with its original tracklist and cover, Francis Lai's eerie-romantic soundtrack for A Man And A Woman, directed by Claude Lelouch, matches the film's subject. That is, two widowers meet for the first time at their children's school, and find themselves plagued by haunting visions and flashbacks of their former spouses. Netting the Palme d'Or at Cannes in 1966, the film has gone on to set the benchmark for French romantic soundtracks, a mark set by the score's rose-tinted sonic scenery, diegesis-breaking narrations and almost automatic singing.
Review: Claude Lelouch's 1966 romantic drama, translated into English as A Man and A Woman, is simultaneously filled with hope and tragedy. It's a passionate story but not one without warnings and lessons about the challenges of getting over loss and learning to trust again. It was also a huge success at the time of its release, grossing $14million at the US box office, which was big bucks back then for a foreign language movie. As the title suggests, the plot follows two single parents - he and she - who lost their spouses in horrible circumstances, namely suicide and an accident, and set about building new lives for themselves, which then cross paths. To complement this, French composer Francis Albert Lai created a sexy, playful, but highly emotional score, which ranges from heartfelt songs to jazz cool and laidback rock 'n' roll.
Review: In the early 1960s at Berklee College of Music, Byard Lancaster connected with fellow musicians like Sonny Sharrock and Dave Burrell and they helped steer him towards the world of free jazz. After moving to New York, he recorded with Sunny Murray and released his debut album It's Not Up to Us in 1968. In the early 1970s, Lancaster frequently collaborated with Jef Gilson and released four albums on Gilson's Palm Records, including Funny Funky Rib Crib. This 1974 recording blends brilliantly creative jazz with funk and soul elements and features an ensemble that explores dynamic grooves and meditative tracks like 'Work and Pray' and 'Loving Kindness.'
Review: 'Eastern Sounds' was one of the last recordings made by his band that Yusef Lateef shared with pianist Barry Harris. With the demise of their playing relationship coming to an end, the album is a spiritual journey through tonal and polytonal improv, building on the musical expertise of the far East and appropriating it for jazz.
Review: William Emanuel Huddleston is better known as Yusef Lateef. It is fair to say he remains a towering presence over 20th-century jazz with a vast discography, much of it packed with classics. Jazz Mood from back in 1957 is a really fine example of what he can do. It found the multi-instrumentalist reconfiguring jazz just as he came to prominence at the end of the 50s. Playing alongside him for this album are some of Detroit's finest such as Alice Coltrane's brother Ernest Farrow on bass, and Curtis Fuller who would later join Jazz Messengers, on trombone. Sumptuous stuff.
Review: Legendary multi-instrumentalist Yusef Lateef recorded this seminal record in 1960 and showcased a slightly more restrained yet equally captivating side of his artistry. Released on Riverside, it captures Lateef at the height of his creative powers, delivering soulful grooves like 'Goin' Home' and a tender rendition of Duke Ellington's 'I'm Just a Lucky So-and-So.' Playing both saxophone and oboe, Lateef is supported by a stellar ensemble: Hugh Lawson on piano, Ron Carter on cello, Herman Wright on bass and Lex Humphries on drums. A masterful blend of subtlety and depth, this is an essential piece of jazz history.
Review: Jazz saxophonist Tony Lavorgna, sometimes known as Captain Bad, recorded Chameleon with the St Thomas Jazz Quartet in 1982. The title track is a cover of Herbie Hancock's classic from Head Hunters, given a fresh lick on this superlative album of incredible renditions of long time favourites. Ray Charles' 'Georgia On My Mind', War's 'The World Is A Ghetto' and Dave Brubeck's 'Take The 'A' Train' all get a look in, given a soulful treatment which goes down very smooth indeed. On the strength of these, it's a shame the group never recorded more music together, covers or otherwise.
Review: Ledley is an album of immersive, improvised electroacoustic music by Raph Clarkson who plays trombone and takes care of FX while Chris Williams is on saxophone and Riaan Vosloo on electronics and post-production. It is their debut release and it pays tribute to legendary Spurs footballer Ledley King by drawing on the atmospheric sounds of North European ambient music and layering in deep references to Tottenham, with tracks like 'Seven Sisters Road' and 'Lordship Lane.' The album explores the intersection of improv and football fandom while, we're told, expressing the themes of community, struggle and resilience. With intricate, evolving soundscapes, this is a profound meditation on football.
Review: Drummer and composer David Lee Jr.'s acclaimed yet hard to find gem Evolution from 1974 is revered for the way it ingeniously melds the experimental spirit of John Coltrane and Sun Ra with the infectious rhythms of New Orleans. A standout among legendary New Orleans drummers, including Zigaboo Modeliste and Idris Muhammed, Lee Jr. showcased fiery innovation and unparalleled experimentation here on this 'lost classic' deep jazz album, originally released on Lee Jr.'s Supernal Records. It embodies a quest for creative progress and spiritual freedom and is rooted in the vibrant rhythms of New Orleans and Afro-Futurist musical concepts. It remains a rare and monumental achievement in the realm of deep and spiritual jazz, and here has been newly remastered for a limited magenta vinyl edition.
Review: The 1978 self-titled album by the free soul band Lemuria remains much talked about around rare groove circles. Formed by Kirk Thompson of the iconic Kalapana, it's a proud statement of Hawaiian AOR, and highlights the magic touch of Thompson as both a keyboardist, and behind the mixers, his work as the album's serving producer. For this new reissue edition, P-VINE is including three bonus tracks and two alternate takes for the first time on vinyl, resulting in this deluxe fourteen track double gatefold package.
Review: The highly anticipated reissue of the rare groove gem Transfusion by West Coast funky drummer extraordinaire Les Demar is finally here thanks to P-Vibe and comes with an obi! Originally released in 1977 on the esteemed Dobre label, this album stands as one of Demar's most significant works from the 1970s. It boasts iconic tracks like 'Moondial,' featuring a legendary drum break sampled by artists such as Jurassic 5, De La Soul, DJ Shadow, and Greyboy. Additionally, the album showcases a plethora of groovy numbers like 'Canned Heat Suite' and 'Kaballa,' alongside the mesmerizing Afro-Latin funk of 'Bacchanal,' epitomizing Demar's fusion of funky rhythms and jazz sensibilities.
Review: Les Demerle Sound 67 is a group defined by core member and prodigious drumming talent DeMerle, who famous playing power and rhythmic elasticity is what stands out here. It is a high class jazz record with his bold presence and command of modern jazz drumming front and centre as his side men do a fine job of filing in the spaces with Randy Brecker on trumpet and rock diva Genya Ravan adding her own vocals. This album is a great find in some long lost vault that contains plenty of evidence as to why DeMerle would go on to be so revered in ensuring years.
Review: This brand new 2xCD set celebrates Level 42's 1985 top three album World Machine, which was produced with Wally Badarou. The album reached #3 in early 1986 and features the hit singles 'Something About You' which peaked at #6, and 'Leaving Me Now' which went on to reach #15. In the U.S., a Shep Pettibone remix of 'Something About You' became their highest-charting single by hitting #7 on the Billboard Hot 100. CD1 includes the original album, while CD2 offers some fresh 7" edits, 12" extended versions, remixes and B-sides. The set also features a booklet with lyrics, photos and a foreword by Simon Carson and Paul Waller.
Review: The Boston-based band The Post Pop Space Rock Be Bop Gospel Tabernacle Chorus and Orchestra was led by Webster Lewis and this album was recorded live in Oslo, Norway, in 1971. The original album was released in 1972 and this expanded edition includes previously unreleased songs, unseen photos and the full backstory of the historic concert. It is a rather rare recording that showcases spiritual and soul jazz at its finest and blends instrumental and vocal tracks for a unique, eclectic sound that has made it highly sought after. Newly transferred from the master tapes, it offers improved sound quality and is a must-buy for jazz cats.
Review: Out Front is a 1961 album by American jazz trumpeter Booker Little, which is now seeing a reissue on the original album on which it was released, Candid - one of the seminal New York jazz labels to operate in the 1960s. With contributions by Max Roach and Don Friedman, the album is an energetic, synesthetically orange foray through hard bop in six movements. Ride cymbal and multiple multitracked trumpets take centre stage, building a backstreety mood, without too much of the blues, and a tad more sundown-yellows.
Review: This is a special sampler 12" taken from the Various Artists compilation Defend Your Planet that Avoidant Records put out. It features a heavyweight crew of electro mainstays, first of which are The Advent & Zein Ferreira. Their 'Defend Your Plane' is a turbo powered cosmic assault with skewed synths and high speed drums. Assembler Code's 'Line Of Sight' doesn't let up, powering on through sheet metal snares and juddering drum programming and then man like Carl Finlow layers in prickly melodies, dark sci-fi energy and booming bass. Analogue master Versalife shits things down with the shadowy 'SH09.'
Review: Those without a deep-rooted knowledge of obscure jazz collectives may assume that the London Experimental Jazz Quartet hailed from London, England, but in fact the short-lived outfit were actually based in London, Ontario. The collective recorded and self-released just one album way back in 1974, Invisible Roots, which has finally been given the reissue treatment. Much of the music sits somewhere between avant-garde jazz of the period and the post-bop sounds of the mid-to-late 1960s, with highlights including the jaunty, life-affirming complexity of opener 'Time is of the Essence', the soulful swing of 'Destroy The Nihilist Picnic', the cacophonous free-jazz experimentalism of 'Ron Martin Special With Mustard', and the becalmed brilliance of 'Jazz Widow Waltz'.
Review: Following up on the spectacular Chicago Odense Ensemble LP from 2019, this new joint on El Paraiso features two of London's finest, Tamar Osborn and Al MacSween, linking up with celebrate Danish psychonauts Jonas Munk, Jakob Skott and Martin Rude to lay down some outerworldly jazz variations. Shapes shift and the vibe is rarely static as the collective of musicians let their talents fly, resulting in some truly breathtaking trips into moody spirituality. You might well detect a hint of kosmische as much as Coltrane/Sanders, and if you like any of that music or simply like to be taken on a vivid, far-reaching trip, you won't be disappointed.
Review: London Is The Place For Me 8 invites jazz fans on a vibrant journey through the sounds of 1950s London, where calypso rhythms meet the bustling streets of the city. Released as part of the ongoing compilation series, the album showcases the rich cultural tapestry of post-war Britain through the music of Lord Kitchener, a Trinidadian calypso legend famed for the song that gives the compilation its title. His infectious melodies and witty lyrics paint vivid pictures of immigrant life, celebrating resilience and the pursuit of joy amid adversity. With its irresistible grooves and historical significance, this new double gatefold record via Honest Jons is a testament to the enduring legacy of Caribbean music in the UK.
Review: United brings together two musical giants in the form of guitarist Lionel Loueke and bassist Dave Holland and they combine in to great effect in what is an inspiring collaboration. Loueke's masterful fusion of West African traditions and modern jazz pairs seamlessly with Holland's deep, resonant bass to make for a greatly harmonious and creative sound. Both musicians have had profound impacts on jazz: Loueke's collaborations with Herbie Hancock, Wayne Shorter, Sting and others, and Holland's influential work with icons like Miles Davis and Chick Corea, have defined the genre over the years. While they've worked together in various ensembles, this album marks their first duo collaboration and results in an extraordinary fusion that celebrates unity, creativity and cultural roots in music.
Review: Renata Lu is a bit of an enigma. She made a couple of much loved albums in the 1970s and did some backing vocal work on cult records by stars such as Tim Maia and Nonato Buzar. Despite this, she never became a standalone star in the world of MPB and so remains a little known figure. Her self titled 1971 debut album on Copacabana Records was a heavyweight mix US soul and funk with spicy Latin percussion, all dropped over samba and boogaloo beats. It is high energy, with lots of big horns, electric piano riffs and angular bass as well as some swooning strings. This deluxe edition marks a real landmark in the world of funk carioca.
What Do You Know About Music, You're Not A Lawyer (music From 'Down By Law') (1:57)
Strangers In The Day (2:00)
Promenade Du Maquereau (1:25)
The Invasion Of Poland (2:26)
Please Come To My House (1:07)
Are You Warm Enough? (2:46)
Swamp (0:47)
Swamp (part 2) (0:48)
Are You Warm Enough Again? (0:30)
The King Of Thailand, The Queen Of Stairs (2:10)
A Hundred Miles From Harry (0:48)
Nicoletta Can't Cook (0:45)
Fork In Road (0:52)
Variety Theme (music From 'Variety') (1:29)
Porno Booth (2:06)
Porno Booth II (3:08)
Car (1:56)
Million Dollar Walk (1:32)
Anders Leaps In (1:00)
Garter Belt (2:13)
End Titles (2:52)
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'r doing. One of shadowy streets, yellow hued spots, smoky barrooms and dark backrooms, a sense of after hours exploration.
Review: Jazz doesn't come much more wildy expressive, idiosyncratic, off the cuff, challenging and dense that this album from 1977. The Human Arts Ensemble came together in 1970 in St. Louis adn was a loose collective that associated themselves with the Association for the Advancement of Creative Musicians (AACM) and the Black Artists' Group (BAG) collective. They had no rues and no restrictions on who could play and it shows as different instrments shoulder their way to the front and vie for attention, from the drums to the keys, the sax to the double bass. This reissue features the original artwork as well as all new remastered audio and fresh liner notes by Howard Mandel that provide great context.
Review: We write this just a few days after the sad passing of Pharoah Sanders, one of the great jazz musicians of his generation. It lends the music an extra air of potency, not that it really needed it. This one is an album that is noted for being the one that reunited Sanders with vocalist Leon Thomas, who in years previous appeared on some of Sanders' most endearing tunes. Many tunes here are defined by the use of Henderson's synthesizer but for opener 'Shukuru' and closing funereal piece 'For Big George'. Both are some of the album's highlights.
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