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.
Review: Finder Keepers recently sent soundtrack lovers into orgasm when they reissue the rarest of them all, the Belladonna Of Sadness soundtrack, and now they score big once more. This one is another dive into the vaults of composer Masahiko Sato and upon returning to the surface we're presented with a bunch of the 13 lost cuts that never made it onto to Italian-only sound track album first time round. It makes for two tracks freaky fuzz, dense noise, post-punk rhythms and intense sonics that sound like nothing else.
Review: Record Shack unearth two tunes from the vaults of Austrian public broadcasting institution ORF, available for the very first time on officially released 7" record. Pressed using only the strictest high-grade equipment, the flame of soul soprano Stefanie Vhynak's 'Feelin' It' is rekindled with a rejuvenative flair: the Viennese singer cut her teeth in the USA before her return to her birthplace, where she was discovered and subsequently enjoyed a longstanding career. Though her stint with the Austrian Broadcasting Company was short-lived, it could still be argued that Stefanie's rep of contributions to the broadcaster lie among her best. The exigency of radio is paramount to good songcraft, which is why there are two versions of 'Feelin' It' here; the first of which lays down the centrality of the song's lyrics via pared-backbeat and muted funk, and the latter pulling the pull ring on the sonic grenade, allowing a full-throttle vocal and instrumental amour to explode.
Review: This 7" is a reissue of one that first dropped back in July and soon sold out but with two extra cuts. It offered a rare chance to discover hidden gems from the Austrian Public Broadcasting Institution (ORF) vaults which were all vinyl debuts in summer. This gatefold double 7" kicks off with Stefanie & ORF Big Band's 'Compared to What,' a hard-hitting funk track featuring lo-fi vibes and powerful horns. The A-2 offers a subtly tweaked version, maintaining the same high energy. 'Feelin' It' then comes on the flipside with big brass leads, deep-cut drums and a stirring, emotive female vocal lead. A second alternative is also featured.
Review: This new 7" offers the chance to discover unearthed killer tunes from the vaults of the Austrian Public Broadcasting Institution (ORF), which officially appear on wax here for the first now time. Stefanie & ORF Big Band are behind 'Compared To What', a hard-hitting funk cut with lo-fi aesthetics and big horns. The flip side version is a subtle tweak with just as much energy. These tracks are pressed in top audio quality as they have been sourced directly from the archive master recordings. This release is a strictly limited edition so do not sleep.
Review: Frank Strazzeri was a versatile musician who played piano, Moog synthesizer and ARP Solina string synthesizer on these tunes with help from Sam Most on tenor saxophone and flute and other input from Bobby Shew, Harvey Newmark and his brother Steve Strazzeri on drums. All four sides fo this double 7" are airy and jazzy, full of spring time vibes and gently persuasive grooves. This is the first time since first release on Catalyst Records in 1976 that they have been reissued.
Review: A veritable wave-making machine in the infinity pool of British nu-jazz, producer Tom Funk rocks up with another 12" instalment in his The Sultan's Swing Project, linking with Colin Curtis Presents for a five-track EP to complement the three LPs reeled off the top so far. The usual grift of jazz, jazz-funk and acid jazz instrumentation - plus trip-hop, downtempo, dub, Balearica, and Latinesque beats - are heard in full swing here, with an extra linseed oiling for the dancefloor. Rapid club-bound bossa nova sets the scene on 'Thinking Of You', while 'Copenhagen Connection' suggests a potential sonic espionage link between London and Denmark, as a moment of Baltic dark jazz marks the only point of downtime on the record. A closing 'As I Walk On By', replete with guest singer, redrapes the Dionne Warwick hookline in looser jazz culottes.
Review: Those who keep a keen eye on the contemporary British nu-jazz scene should already have encountered producer Tom Funk's The Sultan's Swing project. He's already released a trio of fine albums under the alias, each of which combines authentic jazz, jazz-funk and acid jazz instrumentation (provided courtesy of a rotating cast of guest musicians) with nods to trip-hop, downtempo, dub, Balearica and Latin beats. The Sultan's Swing Sessions, Funk's contribution to the Colin Curtis Presents series, takes a similar approach, with predictably excellent results. Our picks of a very strong bunch are the gently spaced-out dancefloor Latin jazz of 'Lotta Arlotto', the summery jazz-fusion of 'Hitchfunkers Slide To The Galaxy' and impeccable opener 'The New Beginning'.
Review: Sunaga T Experience is a solo project of the world-renowned famous Japanese DJ and producer Tatsuo Sunaga. He has dropped a wide array of sounds in single and album form including a great cover of Joni Mitchell's Blue album. His latest 7" marks the 100th release on Disc Minor and is named in honour of that. 'STE 100' is a lush, tender dinner jazz sound with muted horns and warm reeds over a meandering bassline. 'The Way Of The Dragon' is as lively a tune as you might expect given it is named after a martial arts movie. It has busy drums and jagged horn leads with plenty of percussive energy all carrying you away.
Review: Following up 2021's acclaimed Vulture Prince, Pakistini American singer Arooj Aftab collaborates with jazz pianist Vijay Iyer and Shahzad Ismaily on synths to present a striking exercise in dramatic, atmospheric composition. Aftab's voice remains the centre of a creative groupthink which began in 2018, and here the musical ornamentation is turned down to a simmer, eschewing percussion in favour of ambient pastures. There's also space for Iyer and Ismaily to stretch out on their own, but ultimately this is Aftab's vehicle and her voice goes from strength to strength on this standout record.
Sun Ra & His Myth Science Arkestra - "Somewhere In Space"
Sun Ra & His Solar-Myth Arkestra - "The Lady With The Golden Stockings"
Sun Ra & His Afro Infinity Arkestra - "Somebody Else's World"
Sun Ra & His Solar-Myth Arkestra - "Plutonian Nights"
The Sun Ra Arkestra - "Angels & Demons At Play"
Sun Ra - "Island In The Sun"
Sun Ra - "Rocket Number Nine Take Off For Planet Venus"
Sun Ra & His Arkestra - "Afro Black"
Sun Ra & His Intergalactic Infinity Arkestra - "Have You Heard The Latest News From Neptune"
Sun Ra & His Myth Science Arkestra - "We Travel The Spaceways"
Sun Ra & His Solar Arkestra - "Reflects Motion" (part 1 previously unreleased)
Sun Ra & His Solar Arkestra - "Reflects Motion" (part 2)
Sun Ra - "Ancient Ethiopia"
Review: There have been plenty of retrospectives on the absolutely essential work of Sun Ra and his Arkestra over the years, but trust Strut to go that bit deeper when they elected to focus on the Sun God himself. As the extensive title suggests, this collection places the focus on proceedings in the hands of Marshall Allen, the longest serving member of the Arkestra and current band leader. The results mean In The Orbit Of Ra feels a whole lot more personal and indepth, with over 25 years worth of Sun Ra-lead music documented. It's all been fully remastered from the original tapes and is pretty much the most conclusive introduction to the work of this pioneer one could hope for. In addition to the 13 track double vinyl set, this release also includes the double CD edition which includes a further 7 Ra gems!
Review: Derek Bailey and Simon H. Fell recorded At Sound 323, well, live at the Sound 323 gallery in London. It is a mesmerising improvisational journey that defies conventions and expectations as it captures the essence of spontaneous musical exploration. Bailey's intricate guitar work dances effortlessly alongside Fell's dynamic double bass to create a dialogue that is both intimate and intense. Each track unfolds organically, with the duo seamlessly navigating through a myriad of textures and tones and seemingly making sound out of anything to hand, such is the DIY feel of each piece. From the delicate and intricate to the more haphazard and ramshackle, every moment is a testament to the duo's unique chemistry and improvisational prowess.
Review: A new spate of Tele Music library classics reissues from the 70s houses this one from 1976. Once more, legendary composer and drummer Pierre Alain Dahan hears his timely work reissued - this time in collaboration with his eternal guitar colleague Slim Pezin, a many-timed collaborator with Dahan. Contrasting to Dahan's many more experimental works, such as the prototypical 'Rhythmiques' album (which is far more out-there, almost primordial-sounding) 'Neo Rhythmiques' is an absolute killer of scorching, uptempo jazzy soul-funk, demonstrating what humanity as whole has achieved since, by harnessing said rhythmic primordium for its own funky ends.
Review: The Doober, the latest instalment in the Music for Saxofone and Bass Guitar series by jazz duo Sam Gendel and Sam Wilkes, is a freewheeling listen through covers of songs by artists like Joni Mitchell, Judee Sill, and Sheryl Crow. Recorded live, the album captures the raw energy and spontaneity of their performances that feature Gendel's dynamic saxophone work and Wilkes' bouncing basslines. The duo's approach to covers is far from conventional, as they prioritise spacious textural exploration over faithful renditions. Tracks like 'Rugged Road' and 'The Circle Game' undergo radical transformations, evolving into wriggling, cartoonish masses and modal studies, respectively. Gendel and Wilkes playfully deconstruct each song, infusing them with their own cheeky sense of abandon. Despite their unconventional approach, the duo's chemistry shines through on every track, with each piece serving as a framed photo of outer space, presenting the infinite within a digestible container. The album's highlights include unexpected interpolations, such as a jazz rendition of Sheryl Crow's 'Tomorrow Never Dies' and a seamless transition from Miklos Rozsa's 'Love Theme (From Ben Hur)' into Chris Isaak's 'Wicked Game.'
Review: Japanese jazz drummer Takeshi Inomata is a little-spoken-about figure in the jazz-rock scene; The Japan Jazz All Stars alumn, We 3 trio leader and Rhythm Clinic Center founder has made well over 300 recordings in his career - this being the third in a year-long trilogy enthusiastically and successively released under the Sound Limited name alongside Kimio Mizutani and Shigenori Kamiya - amongst others - largely influenced by European musicians like Donovan and The Beatles. A notable and funny inclusion is 'London Bridge is Falling Down', a quite literal jazz groove cover interpolating the famous nursery rhyme. Opening track 'Something' is a cracking piece of relaxing jazz, nothing eye-popping, just some glossy, well-played, easy listening. 'Hurdy Gurdy Man' is a fast-paced funk cut with striking psychedelic guitars over a frantic flute line - the project showed Inomata's vision for a more approachable and instantly catchy jazz rock that still retained a lot of character and left, evidently, lots of room for experimentation.
Review: Or Bareket is a bassist and composer who is recognised for his great lyricism and rhythmic dexterity. Y?M on Enja Yellowbird is a new work which adds to that reputation and features a vital ensemble of jazz talent including Godwin Louis on alto and soprano sax, Jeremy Corren on piano, Savannah Harris on drums and production by vibraphonist Joel Ross. The LP is something of an evolution for Bareket as a leader and composer as it serves up energetic, focused and emotionally diverse music that reflects the personal and collective reckonings of navigating a post-COVID world.
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