Back catalogue:

Review: In 1977, American jazz composer, pianist and organist Weldon Irvine helped create the musical Young, Gifted & Broke, which was in part inspired by Aretha Franklin's 1969 anthem 'Young, Gifted & Black' - a song whose lyrics were penned by none other than Weldon. Irvine was naturally responsible for the writing the soundtrack, which was recorded at the time but only released for the first time 12 years ago. It's an exceptional set all told, joining the dots between jazz, Blaxploitation funk, soul and gospel, with inspired instrumentals sitting side by side with songs that showcase the talents of both the lead characters and a talented chorus of backing singers.

Review: Japanese jazz mastermind Isao Suzuki gets him and his quartet's 1975 album Blue Road reissued. Only initially released a month after making his stomper hit album Orang-Utan, Blue Road is a comparatively lesser-known number recorded live in May of that year in the Nihon Toshi Center Hall in Tokyo. A star cast of bassists, clarinetists, electric pianists and vocalists join Suzuki for an emotive trip through both the new piece 'Blue Road' and the former 'Orang-Utan' in quick succession, making this a beauteous feature-length jazz masterclass, moving through both propulsive and serene sections.

Review: Isao Suzuki's follow-up to his breakthrough album captures the essence of Japanese jazz in the 1970s, a period where the traditional swing style was redefined with a unique, more restrained approach. This album features exceptional interplay between Suzuki and saxophonist Kazumi Watanabe, with an added depth from pianist Kunihiko Sugano and drummer Tetsujiroh Obara. Notably, bassist Nobuyoshi Ino joins on two tracks, including a stirring rendition of 'Body and Soul', bringing a fuller sound to the ensemble and highlighting Suzuki's innovative use of the cello within the small group context. The music, originally released in 1974, avoids the dated, overly rigid patterns of some American jazz of the time, instead opting for more fluid and expressive forms. Reissued now, this album stands as an essential masterpiece in the Japanese jazz canon, showcasing Suzuki's ability to create timeless, intricate and captivating jazz that continues to resonate with audiences worldwide.

Review: Eiko Ishibashi, best known for her acclaimed soundtrack work, returns to original composition with this album named in honour of the feminist-facing, heroine from ancient Greek tragedelian Sophocles' Oedipus Trilogy. It's a world of shimmering jazz harmonies, pulsating electronica and ghostly musique concrete, 'October' opening with a haunting, alluring melody and the disjointed rhythms of 'Coma' creating a sense of disorientation. 'Antigone', the centerpiece, builds to a powerful and unsettling climax, but there's more than chilling soundscapes as Ishibashi injects moments of surprising warmth and beauty, like the delicate interplay between acoustic and electronic elements in 'Nothing As'. Comparisons with her soundtrack work will be made, but - not unlike Antigone herself - this stands alone as a work of bravery and strength.

Review: Akira Ishiguro's Bon is a limited new album on Somethin' Cool that explores a vibrant mix of jazz style sin a timeless fashion. Each piece is an original work from Ishigurom that he says has been fully inspire day the Leo of his wife and daughter. It has a cosmic bent in many places, with celestial and busy melodies heading off to the stars of broken beat rhythms. Electric guitars, tenor and alto sax, bass, percussion and trumpets all get played by a fine ensemble alongside Ishiguro himself to make this one of the best new albums of the year so far.

Review: In 1997, You Ishihara - a key figure in the of history of Japanese underground music, mainly thanks to his output as the leader of the band White Heaven - released this beauty. It's his debut solo album and in terms of the attention it received at the time, you might describe it as nothing more than a damp squib. Subsequently, it's only been availble on CD. However, for the first time on vinyl and to coincide with growing recognition that this is an album that's been unfairly lost in the cultural zeitgeist, it's now getting its flowers. Ishihara has a voice that lets those 60s melodies unfurl with the majesty of a flower opening its petals after a long winter. But he can also ramp it up to 13th Floor Elevator-esque psychedelic scuzz brilliance: 'Crevice' is all flailing hair, drum fills and beer spills. A lot of fun to balance out his Lou Reed-esque downtempo stuff.

Review: In 1970, Akira Ishikawa, a key figure in the jazz rock movement, ventured into bold new territory with his album Electrum. This ambitious project shows his innovative spirit, pushing jazz boundaries with its intense, precise grooves and the musicians' quest for new heights. The album features standout tracks like the tempestuous 'Electrum,' the complexly layered 'Revulsion,' and the tranquil 'Speak Under My Breath,' which captures the serene clarity of dawn. The presence of distinguished pianists and arrangers Masahiko Sato and Hiromasa Suzuki adds further depth and brilliance to this already vibrant work. Electrum is celebrated as a major achievement in Ishikawa's career and is a notable highlight within the Victor "Japanese Jazz" series. Its revival brings renewed attention to Ishikawa's groundbreaking exploration of jazz fusion.

Review: Japanese jazz drummer Akira Ishikawa's blistering 'Uganda (Dawn Of Rock)' makes a piognant claim as to the origins of rock n' roll, blending traditional African drumming workouts with the futuristic tropes belonging to psychedelic rock and fourth world music. Consisting of just four movements ranging from formless to the watery and rhythmic, its recording lies in the basis of just one legendary drummer, but in all its sonics sounds as though an enormous ensemble were behind it. A well-sought J-psych rarity.

Review: Uganda: Dawn Of Rock is a great collision of creative talents from Akira Ishikawa and Count Buffaloes who combine to deliver a captivating exploration of rock music's emergence in Uganda. A classic since it was first issued, the album showcases Ishikawa's masterful drumming and Count Buffaloes' dynamic instrumentation. It overflows with infectious rhythms and soulful melodies and each track immerses listeners in the vibrant music scene of Uganda where rock and local African sounds are fused into something new. As such this is a record that offers a perfect glimpse into a pivotal moment in Uganda's musical history.

Review: Bristol's Ishmael Ensemble returns with Visions of Light, an album that nicely shows the evolution of this experimental jazz collective led by producer and saxophonist Pete Cunningham. Following their acclaimed 2019 debut, A State of Flow, this record pushes boundaries further, blending lush, cinematic jazz with Bristol's signature dub and electronic influences. The album begins with the delicate harp glissandos of 'Feather,' drawing the listener into a serene yet deceptive calm. This tranquility is shattered by the high-energy, chaotic 'Wax Werk,' where the music takes on a darker, more intense character. Throughout Visions of Light, Cunningham's saxophone performances are bold and assured, layered over the dynamic contributions of collaborators like guitarist Stephen Mullins, drummer Rory O'Gorman, and synth maestro Jake Spurgeon. Side-2 offers a shift in tone, beginning with the vibrant 'Looking Glass,' featuring enchanting vocals and strings. The nostalgic 'Morning Chorus' and the ethereal 'The Gift' build towards the hopeful resolution of 'January.' This album is deliver's an emotionally resonant journey that transcends traditional jazz boundaries. Visions of Light is both a bold statement and a beacon of hope in challenging times.

Review: Ishmael Ensemble's third album, Rituals, marks a major evolution for the Bristol-based group. While often associated with the 'new UK jazz' scene, their fusion of live instrumentation and electronic elements extends far beyond that label in truth and now this release pushes their sound further than ever. It blends spiritual jazz, dub, experimental, and electronic styles into powerful, swirling soundscapes that work as well on the head as they do heel. The tracks are more notably song-focused and accessible but still deal in a psychedelic mix of textures, colours, and moods. Rituals is a truly boundary-pushing work of great ambition and is this vital group's best work to date.

Review: The latest addition to Night Dreamer's series, Direct To Disk Sessions, sees Turkish downtempo specialist, Islandman, iconic percussionist and Don Cherry collaborator, Okay Temiz and contemporary saz player Muhlis Berbero?lu joining forces for the very first time. Recorded in just one take, the session captures a one-off melding of the trio's distinct styles. Islandman's signature balearic sound gives new force to Temiz's fiery percussion, reframing Berbero?lu's Anadolu folk influences into a distinctly dance-ready sound. Stand out track 'Fidayda' eases us into the trio's expertly improvised soundworld with an alluring, oscillating saz riff. When Temiz's percussion enters the mix, it arrives with a controlled unpredictability capable of leaving listeners in a trance. While Islandman's production subtly centres the piece, mapping out a pathway from which the organic instrumentation can unfurl. Future-folktronica at its very best

Review: Go For Your Guns by The Isley Brothers was originally released in 1977 and now gets reissued by Music On Vinyl on lovely translucent blue wax in limited quantities. Spanning over eight decades, The Isley Brothers boast one of the most enduring and diverse careers in music history. Originating as a trio in 1954 from Cincinnati, Ohio, the group, comprising O'Kelly Jr., Rudolph, and Ronald Isley, has sold over 18 million records in the U.S. alone. Their 15th album, Go For Your Guns, soared to No. 1 on Billboard's Top Soul chart and No. 6 on the Billboard 200. Notably, it features 'Footsteps In The Dark,' sampled by Ice Cube for his hit 'It Was A Good Day,' which itself reached No. 7 on the Billboard Hot R&B/Hip-hop Songs chart.

Review: Wewantsounds press ahead with their hotly-awaited reissue of Japanese piano jazz master Fumio Itabashi's acclaimed album from 1981, Watarase. A seminal document of the history of jazz recorded at the rough moment that the pianist reached his career apogee - the eighties saw him perform several international tours - Watarase is exemplary of Itabashi's unorthodox piano playing for the time. Virtuosic, yet not indulgent of sustained notes or boilerplate consonance, Watarase is keen to wring out the purity of each composition, seeming less interested in style or ornamentation over pure composition. The result is an album which we're not surprised was raised to the heights of jazz standard exalt, with the title track being of most note in this regard; although the less obvious cuts here are also particularly enchanting, such as the rollicking two-chord improvs of 'Miss Cann'.

Review: Watarase: Voice is a fantastic second release in this series following Fumio Itabashi's acclaimed Watarase: Echo. This new compilation serves up vocal versions of the masterpiece 'Watarase' featuring a range of artists including jazz vocalist Shigeo Maruyama, Korean folk singer Lee Jung Mi and Japanese vocalist Yuki Kaneko. The album focuses on previously unreleased tracks and showcases the global influence of the original and also includes the long-awaited complete version of 'Symphonic Poem 'Watarase,'" a key piece in the story of this beloved work. This is a great testament to 40 years of history and the enduring legacy of Itabashi's jazz artistry.

Review: Ysla, the latest album by Swiss-Polish-Japanese singer, composer and improviser Yumi Ito, is a breathtaking journey into the depths of personal storytelling and expansive, genre-blending soundscapes. Moving between art-pop, jazz and neoclassical, the album dives into themes of solitude, renewal and the end of worlds, beautifully woven with nature, psychology and societal reflections. For the first time, Ito recorded all piano parts herself, layering her vocals with remarkable grace over intricate compositions. In these seven original pieces, Ito has refined her vocal improvisation into a universal language that resonates effortlessly, transcending linguistic borders. Her voice glides seamlessly through varying rhythms and keys. Supporting her are Kuba Dworak on double bass and Iago Fernandez on drums, creating a fluid, versatile rhythm section that explores vast musical terrains. With contributions from guests like Chris Hyson on synths and Szymon Mika on guitar, Ysla feels both intimate and grand. Recorded with Daniel Dettwiler at Studio Idee und Klang on the legendary mixing console used by Queen and Supertramp, the album is a resonant island of artistryiundaunted, timeless and surrounded by vast oceans of sound. Ysla is Ito's boldest, most profound work yet.

Review: Oli Heffernan's ever-evolving project, Ivan The Tolerable, joins Riot Season for two captivating albums that explore the beauty of entropic drift. Recorded swiftly as a quintet, Heffernan enlisted Christian Alderson on drums, John Pope on double bass, Kevin Nickles on flute and saxophone and Ben Hopkinson on electric piano. The first album was Vertigo, a dense and disorienting work reminiscent of Sun Ra meets Exploding Star Orchestra. In contrast, Water Music evokes serene landscapes with sounds of waves, creaking hulls, and gentle winds, blending influences from Laraaji and Natural Information Society. Bob Fischer of Electronic Sound Magazine describes Water Music as a "beautifully soothing psychedelic jazz album" perfect for a summer daydream.

Review: Ixtahuele's new album is a thrilling journey into the world of exotica, blending traditional sounds with modern flair. From the fearsome 'Jungle Chase' to the mysterious 'Moonflower' and the relaxing 'Hookah Parlor,' the album offers a diverse range of experiences. The band's sound and songwriting continue to evolve, pushing the boundaries of classic exotica while staying true to its essence. Each track invites you to embark to a world of noble savages and urban primitives, making it perfect for a rum-fueled adventure or a relaxing evening. Whether you're a fan of the genre or new to its charms, Ixtahuele's latest offering is a stunning audio fantasy that will leave you wanting more.

Review: Pianist-composer Vijay Iyer follows his 2021 ECM disc Uneasy - the first to showcase his trio featuring bassist Linda May Han Oh and drummer Tyshawn Sorey - with Compassion, another album in league with these two gifted partners. Compassion, Iyer's eighth release as a leader for ECM, continues his drive to explore fresh territory while also referencing his forebears along the way, two of them long associated with the label. The album includes a powerful interpretation of Stevie Wonder's 'Overjoyed', which Iyer selected as an indirect homage to the late Chick Corea. Another tip of the hat comes with 'Nonaah', a whirlwind of a piece by avant-garde sage Roscoe Mitchell, a key mentor for the pianist. Then there are Iyer's own melodically alluring, rhythmically invigorating compositions, ranging from the pensive title track to the hook-laced highlights 'Tempest' and 'Ghostrumental'.

Review: The second album from Vijay Iyer and Wadada Leo Smith on ECM is a meditation on resilience, sorrow and the human condition. Across four expansive tracks on Defiant Life, Iyer's piano and Fender Rhodes intertwine with Smith's haunting trumpet to create a soundscape that's both urgent and serene. From the solemn depth of 'Sumud' to the shimmering melancholy of 'Floating River Requiem' and the radiant close of 'Procession: Defiant Life' notions of suffering, resistance and hope are explored. The record was recorded in Lugano and produced by Manfred Eicher. It's a deeply reflective work of emotional and spiritual resonance.

Review: Broc Recordz's Cosmos Giants album is a celestial creation that stems from a monumental collaboration between Janko Nilovic, JJ Whitefield from Poets of Rhythm, and Igor Zhukovsky of the Soul Surfers. Together, they've sculpted a sonic world where genres meld seamlessly and offer a transformative auditory experience where funk, psyche, and soul all inform a jazz underbelly. The ensuing musical odyssey rather defies easy categorisation that is all about immersion in meticulously crafted tracks. From the laidback vibes of 'Inner Space' to the eerie and celestial melodies of '(Wind From) Mount Everest' this is a high-class record.

Review: This release feels like a collision of worlds, where abstract textures and rhythmic intricacies are forced into a dialogue with more accessible forms of electronic music. The opening track sets a tone of strange, mysterious propulsion, yet never fully gives in to any familiar conventions. Instead, it hints at a narrative unfoldingia journey, almost, where sound and intention coalesce but never fully resolve. It's a slow burn that rewards those who stick around, offering complex layers that reveal themselves gradually. Far from merely experimental, it finds a rare balance between artifice and soul, making each sonic twist feel purposeful and immersive.

Review: Japanese-British avant-jazz greatness notably graced the singular hall of London's Cafe OTO in September 2019; drummer Takeo Moriyama and pianist Masahiko Satoh performed for the first time at the esteemed experimental music venue as part of Peter Brotzmann's four-day festival at the venue, and saw their peers, bassist Leon Brichard and tenor saxophonist Idris Rahman, join them for several pieces. While Satoh and Moriyama both formed part of the blistering Yosuke Yamashita Trio - whose output helped spur a critical period in the development of free and modern jazz in Japan - Rahman and Brichard functioned, for a moment, as their contemporary British doppelgangers as splinter members of one of the UK's most notable experimental jazz groups, Ill Considered. The result is a blisteringly free, metrically rule-flouting live performance born of a real confluence of greats.

Review: A Day of the Sun is a spiritual jazz masterpiece full of poetry by two geniuses of the Japanese musical scene. Masahiko Togashi and Isao Suzuki: pivotal figures in jazz, with a unique talent and sensitivity that transcends conventional jazz forms and styles. In addition to being skilled performers they demonstrate extraordinary compositional talent that transcends their sensibilities and wisdom of more conventional jazz. A Day Of The Sun is based on Togashi's drums and percussion and Suzuki's bass, with occasional changes to cello and piano/synths, and is skillfully performed by just the two of them, creating a unique worldview; a performance that far exceeds expectations. The mystical melodies of the East, earthy percussion and the sensibilities of the two intertwine to create a unique groove, resulting in a universal masterpiece that will never fade away and connects with today's sound makers and DJs. Top sound quality from original master tapes. Includes four-sided insert with a very interesting interview at the time with the two musicians regarding the record.