Back catalogue:

Review: This is a real lost South American Latin Jazz-Funk treasure from Argentina taken from some original 1974 recordings led by Carlos Franzetti. Known for his late 70s jazz-fusion album Graffiti, Franzetti recorded Dedos after returning to Argentina from Mexico where he was musical director at Fermata International. His friend Mochin Marafiotti, A&R at Music Hall, proposed the Latin Jazz project and the session featured Ruben Rada, Ricardo Lew, Emilio Valle, Osvaldo Lopez and Franzetti himself. Though initially overlooked, Dedos and Doce y Diez now receive a long-overdue reissue as they remain high on energy and deeply jazz gems with a Latin twist.

Review: Human novae of the 1950s jazz circuit in Hollywood, Curtis Amy and Frank Butler imploded the local scene at the turn of the swinging decade when they began to record for local label Pacific Jazz. Laid down in a single session at the PJ studio, Groovin' Blue is a timeless and idiosyncratic experiment in jazz, its specialty being tss-tss rhythms, unhindered lead instrumental melisma, sax counterpoint, and smackout drum fills and solos from Butler, which more than transcended the strictures of the swing form of the time. Also hearing vibraphonist Bobby Hutcherson, who was just 19 years old at the time of this recording, this excellent six-song set is perfect for those audiophiles keen on the interesting intersection of blues and jazz.

Review: Vincent Lemieux and Guillaume Coutu Dumont are the producers who combine as Flabbergast and now they unveil their full-length debut, Consolation in Constellation. As you would expect from those two artists, it is a boundary-pushing journey through sound that is rooted in improvisation, classical training and deep electronic exploration. The album fuses jazz, acid house, breakbeatand cosmic textures into a seamless exploration that adds up to a sonic constellation-carefully composed, yet full of spontaneity. 'Binary Star' is like IDM, minimal and electro all distilled into a siren new sound, 'Orion Belt' is rich in pixel thin pads and glinting chords and 'Phaser' is a slithering, high speed electro workout from another world and with a playful charm despite its highbrow design.

Review: Greg Foat returns with The Rituals of Infinity, an eclectic jazz album inspired by both iconic sci-fi literature and Greek mythology. Featuring legendary saxophonist Art Themen and trumpeter Trevor Walker, the album is a vibrant blend of cinematic atmospheres and rich jazz traditions. Tracks like 'A Private Cosmos' and 'The World of the Red Sun' nod to sci-fi classics, while 'Minerva's Owl' reflects on the Greek legend symbolising retrospective wisdom, beautifully closing the album. Foat's ensemble, including Natcyet Wakili's fluid drumming, Jasper Osbourne's bass, and Katherine Farnden's cor anglais, creates an expansive sound. Shawn Lee's eerie waterphone touches add to the album's atmospheric depth. Recorded with a thoughtful approach to both melody and theme, The Rituals of Infinity show Foat's compositional mastery and storytelling through music. The album is set to debut live at the Worthy Earth Festival in Hampshire, offering listeners a full listen into its sci-fi and mythological inspirations. It's a richly textured journey that combines jazz's improvisational spirit with otherworldly influences.

Review: Despite eventually becoming one of Japanese jazz's most lauded pianists, Ryo Fukui didn't release many albums in his lifetime. Aside from Scenery, the dazzling 1976 debut of his Sapporo-based trio, none are quite as celebrated as In New York. Recorded with the help of sidemen Lisle A Atkinson (bass) and Leroy Williams (drums) at the Avatar studio in NYC in February 1999, it sees Fukui deliver dazzling, piano-driven interpretations of some of his jazz favourites (Charlie Parker's 'Hot House', Duke Ellington's 'Red Carpet' and George Gershwin's 'Embraceable You' included). Fukui's self-taught piano skills were incredible, no doubt, and it's the expressiveness and fluidity of his playing that shines through. It's perhaps fitting, though, that the album's standout moment is a version of his own 'Mellow Dream', arguably Fukui's most celebrated composition.

Review: Recorded during a 2002 studio session that followed a performance at the Vision Festival in New York City, the album features drummer Ali alongside saxophonist Frank Lowe and emerging talents Jumaane Smith (trumpet), Andrew Bemkey (piano) and Joris Teepe (bass). It's a dynamic ensemble bridges generations, blending seasoned mastery with youthful energy through fiery improvisations and moments of profound unity. Ali's pioneering style, rooted in multidirectional rhythms and polytonal percussion, reshaped jazz drumming by liberating the drummer from a purely time-keeping role. His intuitive interplay with the music, both rhythmically and melodically, made him an equal voice in the ensemble's harmonic creation. This approach resonates throughout the album, where cascading trumpet solos and intricate piano harmonies are tethered by a vibrant bass and Ali's commanding percussion. Tracks like the soaring opener and introspective interludes demonstrate the group's ability to shift seamlessly from bold, expressive improvisation to passages of collective breathing. Originally mixed and mastered by Ali, the recordings were shelved after his untimely passing and are now released by Survival Records in a beautifully restored LP, complete with recollections from Teepe.