Back catalogue: All genres

Review: This live recording by Ahmad Jamal and his trio is a timeless classic, showcasing the subtle yet captivating interplay between Jamal, bassist Israel Crosby and drummer Vernell Fournier. Known for his minimalist approach, Jamal's piano playing is marked by light, playful riffs that swing effortlessly, often making a single note resonate with more impact than a complex phrase. Fournier's drumming is a masterclass in taste and pocket, providing a rhythmic foundation that allows Jamal to glide through each tune with ease. Crosby's bass work is rock-solid, shaping both the rhythm and melodic framework of the music. The standout track is undoubtedly the vibrant rendition of 'Poinciana', where the trio's chemistry truly shines, transforming the song into a fresh, innovative experience. The album is filled with accessible yet masterfully executed jazz standards, offering a perfect introduction to Jamal's distinctive style. Despite its brevity, the performance is an immersive, joyful experience, with each track showing the trio's impeccable skill and smooth groove. While some may have initially underestimated Jamal's style, this live session proved his influence on the genre, leaving a lasting mark on jazz history.

Review: Sea Horse is a live album by Japanese reed instrument master Akira Miyazawa, together with a later incarnation of his quarrelsome quartet. One of his later 80s works - recorded after his return to jazz following a hiatus in the 1970s - Sea Horse thoroughly blurs hard distinctions between 'live album' and 'studio album', as its reissuer Light In The Attic rightly notes that the listener can barely hear the presence of the audience in the recording - though it is there. A mixture of both standards and originals are heard here, and all are brought together by Miyazawa's masterful saxophone playing, not least for Duke Ellington's 'In A Sentimental Mood', or Miyazawa's own, 'Baby Sea Horse'.

Review: Akira Miyazawa's Kiso is like a sonic postcard from his childhood, drawing listeners into the landscapes that shaped him. Released in 1970 as part of Victor's Japanese Jazz series, it's all about capturing what it means to be Japanese through music. The album showcases an incredible synergy between Takeo Moriyama's dynamic drumming, Yasuo Arakawa's rich bass grooves, and Masahiko Sato's expressive piano work, all beautifully complementing Miyazawa's heartfelt saxophone. It's a stunning tribute to nostalgia and nature, making it an essential piece of cultural history.

Review: The Ancients, an intergenerational coalition of free jazz masters, deliver a powerful and evocative double LP that resonates with the spirit of improvisation and collective expression. Isaiah Collier, William Hooker, and William Parker, brought together by Parker for concerts in conjunction with the Milford Graves exhibition at the ICA Los Angeles, weave a tapestry of sound that draws upon the rich legacy of free jazz while forging their own unique path. Across two LPs of long-form improvised sets, recorded in Los Angeles and San Francisco, the trio explores the sonic terrain first charted by the likes of Cecil Taylor and Ornette Coleman, their interplay showcasing some electric, spontaneous creation. Collier's tenor saxophone soars with fiery intensity, while Hooker's drums crackle with a restless energy and Parker's bass anchors the music with a deep, resonant foundation. This is music that speaks to the heart of the human experience, a tribute to the power of improvisation to transcend boundaries and connect us to the deeper currents of life.

Review: In 2002, pianist and composer Andrew Hill's A Beautiful Day captured a landmark Birdland performance that also revealed a new facet of his own artistry. Now, A Beautiful Day, Revisited from Palmetto Records enhances this experience with a remixed and remastered edition that expands the recording's depth and detail. Producer Matt Balitsaris adds previously unreleased material, including a second, unique rendition of the title track and a lengthened version of '11/8' featuring Hill's introductions of each ensemble member. Hill's band, with improvisers like Greg Tardy, Marty Ehrlich and Ron Horton, creates a rich, expressive soundscape that balances Hill's compositional elegance with spontaneous, free-jazz momentum.

Review: Made up of Jun Miyake and Ichiko Aoba's live sessions held in Tokyo in November 2016 and the following February 2017, Pneuma consists of valuable recordings that had only been released in high-resolution format for distribution; the record is now finally released in vinyl format here on P-Vine. The first performance in January featured Tatsuhisa Yamamotoon on drums and the second in February made up a quartet formation with the addition of bassist Hitoshi Watanabe. The two ultra-talented musicians provide us a glimpse into how the music of Jun Miyake and Ichiko Aoba is made and this record breathes into their practice a new life.

Review: Born in Kent and central to the UK's 70s jazz modernism, Neil Ardley composed with the precision of a scientist and the vision of a cosmic philosopher. This long-overdue reissue from Analogue October captures a project that translates planetary orbits into a nine-note harmonic systemitoo vast for acoustic instruments, brought to life instead through early synthesisers. 'Arcturus' and 'Spiral Nebula' interlace fluid sax work from Barbara Thompson with John Martyn's signature reverb-drenched guitar, while Geoff Castle's synths evoke deep-space drift. 'Rainbow Four' channels modal funk, and 'Neptune' floats into ambient abstraction. Produced at Morgan Studios with a full ensemble of jazz heavyweightsiTony Coe, Ian Carr, Billy Kristian, Richard Burgess, and Trevor Tomkinsithis is a record that swings between science fiction and symphonic elegance. For all its high concept, it remains rooted in groove and human touch. A meticulous AAA cut from the Decca master tapes seals the experience: a bold and beautiful reminder of how far British jazz once dared to travel.

Review: Some 14 years in the making, Les Jardins Mystiques Vol.1 comprises 52 tracks of music composed, arranged and produced by Miguel Atwood-Ferguson; with contributions from 50+ friends including Kamasi Washington, Thundercat, Carlos NiNo, Austin Peralta, Bennie Maupin, Gabe Noel, Jamael Dean, and more. If that wasn't monumental enough, just know that this lengthy classical-experimental-jazz album is certainly Miguel's intended magnum opus, having been written and recorded entirely as a result of his own uncompromised, self-funded efforts. Such an extensive time period reflects an album of longstanding personal growth for the artist; an attitude of continual evolution and innocence, of constantly coming of age and reinventing oneself.

Review: Albert Ayler was a trailblazing avant-garde saxophonist lost far too soon, and not long before his death he performed an iconic pair of performances at Fondation Maeght in Saint Paul de Vence outside Nice. While excerpts from the performances have been previously released, this is the first time they appear in their entirety, alongside each other as a testament to a truly powerful force in jazz. This four-CD edition comes with an extensive 100-page booklet loaded with essays and quotes from authorities and contemporary music luminaries of all sorts, making it a standout document for all serious jazz lovers to cherish.