Review: This EP is the first collaborative work by Andrea Belfi and Jules Reidy. Berlin-based and hailing from Italy and Australia respectively, the duo blends compositional precision with improvisational freedom. During a residency at Berlin's Callie's-a 19th-century factory turned arts space-they and engineer Marco Anulli crafted four expansive tracks in which Belfi's masterful drumming interlaces with Reidy's shimmering guitars and electronic textures. The opener layers just-intoned guitar figures over delicate brushwork and climaxes with a synthetic surge and tracks like 'Oben' and 'Alto' explore shifting grooves, propulsive rhythms and dynamic soundscapes.
Review: Staten Island's The Jazztronauts return to Nu Tone with a smooth cruising single which capitalises on the slick fusion style they do so well. There's a reflective, season-shifting mood to 'This Thing Of Ours' which feels perfectly suited to the time of year, whether it's David Giordano's wistful guitar chops or Josh Glazer and Shawn Rhoades' brass section pealing out over the laconic rhythm. 'When It Hits' on the flip is a more sprightly affair which sees drummer AJ Pantaleo setting a snappy pace and Jesse Blum flexing out on the keys, once again maintaining the buttery smooth style the band are so well loved for.
Review: Jimi Ahlroos's debut release on Jazzaggression is a limited edition album that comes in a reused sleeve with a digital download but none of the musical ideas are rehashed in any way. it's a vital 10" that features three original compositions performed by Jimi's energetic trio which includes Mooses Kuloniemi on drums and Tuomo Purhonen on double bass. Recorded at Pelto Studio in Siuntio during November 2023, the A-side opens with the funky 'Kouvo's Dance' followed by the introspective 'Blues.' The B-side offers the expansive 'Dave Had a Dream,' a heartfelt tribute to David Lynch that has already proven popular at Jimi's gigs.
John Abercrombie & Jack DeJohnette - "Unshielded Desire" (9:39)
Dave Holland - "Jamala" (2:42)
Jack DeJohnette - "Sorcery I" (7:54)
Review: Gateway by John Abercrombie is a captivating journey through the realms of modern jazz fusion, featuring Abercrombie's masterful guitar work alongside Dave Holland's silky-smooth bass and Jack DeJohnette's dynamic drumming. Seamlessly blends traditional and progressive jazz elements, Abercrombie's compositions showcase intricate band interplay, with tracks like 'May Dance' and 'Jamala' highlighting the trio's ability to shape melodies around each other's instrumentation. Holland's bass provides a solid foundation, grounding Abercrombie's exploratory guitar solos, while DeJohnette's drumming adds texture and depth to the ensemble. Abercrombie's experimental approach to guitar sounds, as seen in 'Sorcery 1,' adds a unique dimension to the album, enhancing its dissonant yet accessible nature. Overall, Gateway offers a rewarding listening experience for jazz and music lovers.
Review: After numerous patches, Cyberpunk 2077 has come an astoundingly long way since Keanu Reeves himself announced it at the now-defunct E3 expo. Phantom Liberty is an expansion on the original game set in Dogtown, the ruins of an abandoned luxury development project that was forced to be scrapped when old military complexes, bunkers and labs were uncovered by construction. A tale of espionage and political intrigue ensues, scored by P.T. Adamczyk and Jacek Paciorkowski once again following the duo's Game Award-nominated original score. The highlight is, of course, 'Phantom Liberty', the title and credits track that features Polish X Factor winner and multi-diamond recording artist Dawid Podsiadlo, his voice booming in front of the Czech National Symphony Orchestra. Pressed on heavyweight 180gm vinyl and includes a double-sided insert with key art of Songbird for fans of the series to enjoy.
Review: Sensory Blending hears Finnish artist Jimi Tenor and Italian group Aura Safari team up for an impromptu studio shebang in Perugia, Italy, after Tenor's storied but clandestine performance at a Hell Yeah party. Despite no prior connection, the musicians quickly found common ground, forging a vivant fusion of jazz-funk, tropicalia and soul. Tenor's psychedelic style gelled Aura Safari's faster, intuited approach, resulting in such tracks as 'Bodily Synesthesia,' 'Bewitched By The Sea' and 'Lunar Wind', each of which connect seductive grooves and ghost noted keys. Possibly performed live at select events later in the year, the record is a perfect storm of recorded "live feel" Balearica.
Review: The Blue Land is Matthieu Bordenave's follow-up to his ECM trio debut and sees the addition of British drummer James Maddren, enhancing the ensemble's airy textural canvas with a more urgent, animated feel. Pianist Florian Weber's improvisations set the tone, displaying inventive tension and release. Bordenave's saxophone weaves a lyrical narrative, punctuated by bassist Moret and Maddren's perceptively timed contributions. The album strikes a delicate balance between tonal and abstract elements, as heard on the ominous title track and the meditative 'Cyrus.' With nods to Coltrane's 'Compassion"'and Jarrett-like piano, the ensemble delivers an intriguing and collectively expressive set of chamber ensemble pieces.
Review: Part of the Original Jazz Classics Series, this 1963 album from the great Kenny Burrell and John Coltrane is now reissued on 180-gram vinyl. Featuring Burrell and Coltrane, along with Tommy Flanagan, Paul Chambers, and Jimmy Cobb, the album comprises five tracks that have been remastered from the original tapes by Kevin Gray at Cohearent Audio. It's an absorbing journey into two genius creative minds and comes comes in a Tip-On Jacket, preserving the essence of the original release while offering enhanced sound quality for contemporary listeners.
Review: Nothing by Louis Cole, a collaboration with the Metropole Orkest conducted by Jules Buckley, blends classical orchestration with dance music, pop, and jazz, showcasing Cole's unique and ultra-flexible production style. The album features 17 tracks, 15 of which are brand new, avoiding orchestral renditions of his hits and instead presenting fresh compositions. The lead single, 'Things Will Fall Apart,' highlights Cole's feather-light vocals over an exciting orchestration of funk percussion, strings, horns and barbershop backup vocals. Recorded during live performances, Nothing captures the energy and emotion of Cole's multi-date sold-out European tour with the Metropole Orkest. The project emphasises Cole's desire to create music with deep emotional impact while remaining straightforward and accessible. Cole meticulously mixed the album himself, ensuring his pure vision was realised.
Review: The great Alice Coltrane was already widely revered by the time she released her third solo album Ptah, the El Daoud. It was written and recorded in 1970 in the basement of her house in Dix Hills on Long Island, New York and is noted for being the first record she made with horns. They are split between the two channels with Pharoah Sanders on the right bringing his abstract and transcendental sounds and Joe Henderson on the left bringing the intellectual vibe throughout. The post-bop sounds find Coltrane playing piano and harp receptions at the time were warm critically and with fans. The otherworldly sound is drenched in blues and perfect for some mindful meditations.
Review: In the reams of great John Coltrane recordings, this album surely stands of one of the true gems. Originally released in 1963, this collaboration with legendary baritone singer Johnny Hartman captures Coltrane at his mellow best. Alongside the headliners, the line-up on this album also features McCoy Turner on piano, Elvin Jones on drums and Jimmy Garrison on bass, and the result is an understated, sumptuous listen to lose yourself in. Sentimental and melancholic in all the best ways, this is sensitive musicianship at its finest.
Review: Kenny Dorham and Jackie McLean's Inta Somethin' is a vibrant snapshot of their performance at San Francisco's Jazz Workshop in late 1961. Jackie Mac's prowess shines brightly as he delivers a compelling rendition of 'Una Mas' a year prior to its Blue Note release. Backed by Leroy Vinnegar, Walter Bishop and Art Taylor, the ensemble crafts a dynamic and exhilarating atmosphere as McLean's virtuosity is on full display, captivating listeners with his electrifying playing style. Inta Somethin' is proof of the skills of these jazz giants and is a great window into their live repertoire and sense of musical innovation.
Review: This all new EABS meets Jaubi In Search of a Better Tomorrow long player is the result of musical bridges having been formed between Jaubi and the releases on Astigmatic Records and collaborations between musicians from Europe and Asia and EABS members' trips to Pakistan and Poland. It is a world sound with Moogs, bass guitars, grand pianos, Fender Rhodes, clarinets, saxophones and vocals all colliding tradition with new school thinking. Hip-hop elements, improvisation and spiritual jazz and Hindustani ragas all feature in this most cultural and musical melting pots.
Review: A standout 1958-1959 recording by Johnny Hodges, Side by Side marked his continued solo work after taking the bold decision to leave the legendary Duke Ellington Orchestra. This album harks back to the small-group sessions of the 1930s but with a twist as Ellington's absence on several tracks meant Billy Strayhorn stepped in on piano. Joining Hodges are jazz legends like Jo Jones, Roy Eldridge and Harry 'Sweets' Edison, who all add colour to the varied collection, which has been newly remastered for Verve's Acoustic Sounds Series. As a follow-up to 1959's Back to Back: Duke Ellington and Johnny Hodges Play the Blues, it is another gem from the noted alto saxophonist.
Review: Back To Back by Duke Ellington and Johnny Hodges is a captivating collaboration that showcases the immense talent of these two jazz legends. It's a record, now reissued by Verve, that features a seamless interplay between Ellington's sophisticated piano stylings and Hodges' soulful saxophone melodies. From the swinging rhythms to the heartfelt ballads, each track exudes a sense of elegance and charm. Whether it's the lively improvisations or the tender duets, every moment on this record is a testament to the mastery of these jazz icons.
Review: Now here's a rarity for you. Not even many of the most committed megafans know that Brian Eno, Holger Czukay and J.Peter Schwalm, accompanied by Raoul Walton and Jern Atai, performed a secret live music show, outside the esteemed Kunst-und Ausstellungshalle der Bundesrepublik Deutschland, the Art and Exhibition Hall of the Federal Republic of Germany, situated in the city of Bonn, in August 1998. Forming a part of the opening party of Eno's Future Light-Lounge Proposal multimedia installation, this furtively-recorded album hears an exclusive slice of incidental "high-altitude food music", of course made during Brian Eno's airborne ambient era. Now reissued via Gronland, this five-piece cut of sophisti-ambi-krauttronica makes for a welcome surprise.
Review: Bill Evans and Jim Hall's Undercurrent is a timeless coming together of two greats that showcases the sublime synergy between piano and guitar. Released in 1962, the album exemplifies understated elegance and musical intimacy. Evans' delicate piano melodies intertwine seamlessly with Hall's lyrical guitar lines, creating a captivating atmosphere of introspection and emotional depth. Tracks like 'My Funny Valentine' and 'I Hear a Rhapsody' epitomize the duo's unparalleled chemistry, while their improvisational prowess shines on every note. Undercurrent then stands as a testament to Evans and Hall's collaborative brilliance, leaving an indelible mark on the landscape of jazz music with its timeless beauty and profound musical expression.
Review: Jazz collectors - specifically those of you with an obsession with the work of sax legend John Coltrane - perk up your ears. Many among you might not yet be aware of The Cats, a collaborative album recorded in synergy between Coltrane, guitarist Kenny Burrell, trumpeter Idrees Sulieman, and pianist Tommy Flanagan, but we wouldn't blame you, because this was one that flew under the radar on its New Jazz release in 1959. Not least, this might have been because it was released when Coltrane had moved onto more one-off release projects, shortly after his more widely publicized contract with Prestige Records ended. Nonetheless, it's cited as a deeply special album, resonant of the slinky sound of postwar New York jazz inasmuch as it is of the archetypal feline form.
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