Review: Brazil 45s hit the quarter century in their run and show no sign of stopping. It's an all-girl affair on this one as two hugely popular and prolific singers take a spin under Mr Bongo's spotlight. Elizabeth (often known as Elizete) lays down a steamy samba flavour that gets raunchier as the track develops. Elza, meanwhile, gets busy on a Bossa tip as a carnival of percussion and horns go toe-to-toe with her sharp, sexy staccato vocals. Powerful.
Review: The Brazil 45 series from Mr Bongo bursts through the picture with yet another rocking 7" fire starter by two vintage pop greats - we have to say, their format simply works. First up is Elis Regina, a Brazilian singer who released a countless pop records back in the '60s, and "Ye Me Le" is a soft, seductive Brazilian soul warmer complete with blasting trumpets and that inimitable South American percussion swagger. Turkey's Senay features on the flip with "En Buyuk Sansin Yasiyor Olman", an incandescent lover's ballad that makes a welcome change to the more widely heard Turkish psych sound of the '70s.
Review: Two outstanding Brazilian funk cuts straight out of 1971: "Esperar Pra Ver" is a laden with an immense orchestrated groove that's triggered by a lean, unforgettable bass guitar riff that matches Evinha's purring, slinky allure. "Que Bandeira" rolls with more of a poppy bossa flow with militant rim shots, swooning strings and a momentum that builds on every verse. Both tracks are taken from Cartao Postal, Evinha's third album that has been known to pass hands for as much as L500 in the past.
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: The first and still cult classic jazz album Eastern Rebellion from the eponymous band was released in 1976. The collective didn't waste any time in getting back in the studio to record a follow up and so came their magnificent Eastern Rebellion 2 just 12 months later. It is a frantic and classic set of free-form jazz from the group that consists of Cedar Walton on piano, Bob Berg on tenor-sax, Sam Jones on bass, and Billy Higgins on drums. The four pieces that make up this album were all penned by Walton and cover plenty of ground from hard bop to straight jazz.
Annita Ray & The Nature Boys - "Frankie's Song" (2:27)
Don Carson & The Casuals - "Jungle Bungalow" (2:30)
Bob Romeo & His Jungle Secret - "Sahara" (2:35)
Don Carson & The Casuals - "Yes Master!" (1:58)
Marti Barris - "Ahbe Casabe" (2:44)
Gene Chandler - "Lonely Island" (1:45)
Biggie Mcfadden - "Big Rock Steam Roller" (2:19)
The Big Square From Nowhere (3:13)
Robie Lester - "Green Flamingo" (2:40)
John Harris - "Monterey" (alternate version) (2:44)
Jam Session '78 (1:35)
Review: Eden Ahbez was a the prototypical hippie in California, writing songs and recording through the 40s to the 60s and penning Nat King Cole's hit single 'Nature Boy' amongst others. This album, his definitive 1960 opus, is a unique curio which touches on jazz, spirituality and much more besides, but ultimately sounds utterly unique, much like Ahbez himself was. There's a romantic lilt to his playing, a little sadness but also much innocence and joy in these songs. If they don't stir up the inner nature child in you, you must have a heart of concrete. Alongside the standard Epsilon reissue of the album is this stunning, wood-cover edition which gives the album a special kind of prominence, not to mention tapping into the earthly magic of Ahbez's music.
Review: Together Again!!!! reunites trumpeter Howard McGhee and saxophonist Teddy Edwards in a jazz collaboration originally released in 1961 that is as energised and electric as the title with all its many exclamation marks. This reissue is part of the Acoustic Sounds Series and showcases the exceptional talents of McGhee and Edwards alongside Phineas Newborn Jr. on piano, Ray Brown on bass, and Ed Thigpen on drums. It has been cut from the original master tapes by Bernie Grundman so the AAA lacquers enhance the album's rich sound. It's a mini-classic of the jazz world and it never sounded better.
Review: This work by Alf Emil Eik is a serene and soothing soundtrack for moments of relaxation, meditation or peaceful ambience. Eik's ethereal melodies transport listeners to a realm of inner peace and timeless beauty. Each track blends intricate layers of sound and evokes serenity and wonder while the harmonies resonate deeply within your soul. Uplifting yet introspective, the music invites reflection on the beauty of life and the mysteries of existence. A fusion of classical, ambient and new age influences abound here and prove Eik to be a master composer.
Review: SuperBlue: The Iridescent Spree is a much-anticipated follow-up to Kurt Elling and Charlie Hunter's last album which was no less than 2021's eponymous and Grammy-nominated album. Once again this pair are blazing new trails and blending new genres across kaleidoscopic collection of new songs. They have reunited for it with Corey Fonville and DJ Harrison and along the way, there are some cheeky and pleasantly surprising covers as well as some smart and dynamic reinventions. A timeless jazz record if ever there was one.
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: Depending on your personal circumstances, the Covid pandemic was either a blissed-out paid holiday or a stressful and seemingly never-ending time of loss and hardship. Both ends of the spectrum are gorgeously captured here by London-based Joy Ellis, who wrote her third album 'Peaceful Place' during those strange weeks. Though a renowned singer, she decided to strip things back to just piano for this record, with long-time collaborators Adam Osmianski on drums and Henrik Jensen on double bass fleshing out the sound. It is a poignant listen from front to back, with all the many different emotions of that time conveyed perfectly, from grief to uncertainty, hope to despair, in one immersive record. The sheer beauty of these songs and the meaning of the melodies stay with you long after they have finished playing, making this a real triumph out of adversity and one that is sure to stand the test of time.
Review: Emahoy Tsege Mariam Gebru remains one of 20th century jazz's most likely heroes: an Ethiopian nun whose piano-playing talent was spotted and encouraged by Emperor Haile Salassie, who paid for her to study and record her earliest albums in Germany. This retrospective draws on a handful of rare albums (and even rarer archive recordings) Gebru committed to tape in the 1960s. It provides an excellent introduction to her distinctive style, which mixed Ethiopian and Western musical modes, with nods aplenty to her musical inspiration, the great Erik Satie. Highlights are plentiful, with our picks including the fresh and breezy 'Mother's Song', the epic and undulating 'Song of the Sea', and the inspired 'Song of Abayi'.
Dark As (feat The Maghreban & Tamar Collocutor) (4:52)
Tea Leaf Dancers (feat Vince Vella) (3:51)
The Volume Of The Light (feat Jessica Lauren) (4:43)
Review: London spiritual jazz man Emanative is drummer and producer Nick Woodmansey. He has put out some well received albums on Brownswood, The Steve Reid Foundation and Jazzman Records and also tries his hand - successfully - at electronic music. Vocalist Liz Elensky has been part of the project since 2006 and this album finds the duo head in a new direction that delves deep into electronic sounds but with soulful jazz vibrations and contributions from the likes of Rocketnumbernine, The Maghreban and Khalab & Jesica Lauren amongst others. It results in an album that is as alluring as it is inventive.
Review: German saxophonist Johannes Enders is the dynamic tour de force behind this new record which draws inspiration from Pharoah Sanders' emotional intensity. Along with his band, he creates a unique and original sound that is never derivative of its influences but instead works them into all new forms. Through nine carefully crafted compositions, the musicians build a bridge back to Sanders' legacy while showcasing their own interpretation of his style. The result is a blend of deep, soulful jazz that expands upon Sanders' musical foundations with plenty of swing.
Review: REPRESS WITH NEW OBI-STRIP: Japanese label P-Vine sure know how to pick out the essential spiritual jazz reissues. This is another gold standard that came originally on Strata East in 1974. Vocals feature throughout and often soar to the highest of heights and make it a charismatic album. Sample hounds and hip hop lovers might well recognise the track 'Optimystical' which has been pillaged by Detroit great Andres before now. elsewhere there is real freeform magic on 'Music Is Nothing But A Prayer', cosmic exploration on 'Trace Of Trane' and heartwarming beauty on the closer 'Peace (Salaam)'.
Review: Esperanto is widely heralded as a Venezuelan jazz-Ffsion masterpiece. It was first released in 1980 and is a real collector's item that is hard to find an expensive. French label Favourite now presents a first ever reissue of the eponymous LP that was recorded in Caracas by a number of talented musicians. It has strong Latin and funk overtones. Squelchy synth sounds and is a must-have for anyone interested in this fine fusion sound. The band started off playing jam sessions that grew ever more refined to the point that they eventually lay down this enduring masterclass.
Review: The Ethnic Heritage Ensemble was founded in 1973 by percussionist Kahil El'Zabar and had a huge impact on jazz. They have put out several sublime and hotly in demand albums over the years since - the excellent Be Known: Ancient Future Music being one of them - and are rooted in free-jazz improvisations and inspired workouts. Their second album Impressions came in 1982 and is now remastered and reissued for the first time, much to the delight of collectors. It is a kaleidoscope of sound and unabashed musical vision from this sublime ensemble.
How My Heart Sings (Recorded live In Helsinki Finland August 13 1964) (4:27)
Come Rain Or Come Shine (4:38)
Nardis (3:50)
Autumn Leaves (3:59)
Five (5:43)
Detour Ahead (Helsinki Jazz Festival Finland November 1 1965) (5:54)
Come Rain Or Come Shine (5:31)
My Melancholy Baby (8:20)
Very Early (University Of Tampere Finland October 28 1969) (5:01)
Who Can I Turn To? (5:23)
'Round Midnight (7:50)
Gloria's Step (4:53)
Turn Out The Stars (5:30)
Autumn Leaves (5:46)
Quiet Now (5:51)
Emily (5:56)
Nardis (10:30)
Review: Unveiled as part of Record Store Day 2025 celebrations and produced by Zev Feldman in collaboration with the Bill Evans Estate, Further Ahead: Live in Finland 1964-1969 is a remarkable double album collection of previously unreleased recordings by the legendary jazz pianist. The set features intimate performances from Evans' iconic '60s trios plus a special 1965 session with alto saxophonist Lee Konitz. Pressed on great sounding heavyweight vinyl, this version includes rare photos, essays by Marc Myers and Gil Goldstein and reflections from Evans' trio members Chuck Israels, Eddie Gomez and Marty Morell, which makes it a real authority on Evans' work.
Review: Bill Evans Waltz For Debby is an iconic jazz album that has long been a cherished one to add to any collection. It now gets this exclusive collectors' LP edition that comes with a special 7" single that includes some extra versions of songs from the original album. These include unaccompanied piano versions of 'My Romance' and 'Waltz for Debby' as well as a special quartet reading of the title tune featuring Evans with Cannonball Adderley. It's full of dancing melodies and majestic melodies that run deep into your psyche.
Review: It's not often that a previous unheard recording of a giant of jazz is found loitering in the depths of someone's personal collection, but that's the case here. These recordings of legendary jazz pianist Bill Evans, laid to high-quality tape in 1964, were discovered last year in the personal archive of jazz musician Ole Matthiessen. Now fully mastered, it's a genuine unheard "Holy grail" - a set of recordings that show the versatility and quality of Evans' playing. Basically, it's a fantastic collection of piano jazz numbers, with Evans either playing solo, or accompanied by little more than a drummer and a double bassist. If you love jazz, you need this in your life.
Review: Much celebrated new school jazz crew Ezra Collective finally unveil their highly anticipated new album Where I'm Meant To Be after a big summer single 'Victory Dance' got us all excited. This record is a life-affirming romp with their famous hybrid sound tasing in all manner of different styles, eras and scenes. Some high-profile features from Sampa The Great, Kojey Radical, Emile Sande and Nao bring extra goodness to this record which is certainly a product of the current London scene but also owes a debt to the sounds of southern Africa. It all adds up to a real doozy.
Review: Ezra Collective has described their hotly anticipated second album, 'Where I'm Meant To Be', as "a thumping celebration of life". As with their previous work, it's rooted in the band's love of on-stage improvisation - call-and-response instrument solos abound throughout - and peppered with contributions from guest vocalists including Sampa The Great, Emeli Sande and Nao. Musically, it's undoubtedly joyous, blurring the boundaries between contemporary UK jazz, afrobeat, hip-hop, dub, Latin rhythms and soft-touch electronics. The plentiful highlights include steppers-powered dub-jazz workout 'Ego Killah', sparkling opener 'Life Goes On' and the Afro-Cuban brilliance of 'Victory Dance'.
Review: This 1965 collaborative album brings together some of the international music world's finest talents. Featuring Nara Leao's soothing vocals, Edu Lobo's striking guitar and Tamba Trio's vibrant harmonies, 5 Na Bossa captures the essence of Brazilian bossa nova and jazz with a warm and sunny inflexion. With iconic tracks like 'Reza' and 'Zambi' bringing Latin jazz flair, and Edu Lobo's 'Estatuinha' offering more ruminative folk sounds, this is a brilliant album for those who like South American sounds in all their many guises. The album was recorded live at the Paramount Theater in Sao Paulo and is truly essential listening.
Wings For The Thought Bird (feat Elena Pinderhughes & Orquestra Ouro Preto) (3:09)
The Way You Are (4:06)
Earth Song (feat Dianne Reeves) (3:22)
Morro Velho (feat Orquestra Ouro Preto) (2:46)
Saudade Dos Avioes Da Panair (Conversando No Bar) (feat Lianne La Havas, Maria Gadu, Tim Bernardes & Lula Galvao) (5:06)
Um Vento Passour (feat Paul Simon) (2:51)
Get It By Now (2:16)
Outro Planeta (1:48)
When You Dream (feat Carolina shorter) (8:10)
Review: Legendary Brazilian musician Milton Nascimento is often hailed as one of Brazil's greatest ever musical exports and for this album, he collaborated with NPR's "21st Century's jazz genius," Esperanza Spalding. Milton + Esperanza is an album produced by Spalding and one that blends urgent and timeless sounds together into something interesting and new. The album features guest appearances by Dianne Reeves, Paul Simon, Lianne La Havas, and others while fusing Nascimento's enduring musical vision and Latin spirit with Spalding's innovative approach to jazz.
Review: Jeff Parker and his ETA IVtet are back with their first new music since 2022's Mondays at Enfield Tennis Academy. The album delves into improvised jazz grooves and features longtime collaborators Anna Butterss on upright bass, sax from Josh Johnson and Jay Bellerose on drums. The compositions are carefully crafted to capture the essence of a single night's setlist and reflect the unique atmosphere of the now-defunct Enfield Tennis Academy. Parker channels this space into a beautifully layered and dynamic piece that builds intricate, shifting textures from simple musical ideas that evoke a rich, immersive listen.
Review: Following years of notable collaborations with some of jazz's leading voices, saxophonist and band leader Walter Smith III finally broke through in 2023 via a first headlining album for Blue Note. On his return to the label, Three of Us Are From Houston and Reuben is Not, Smith pays tribute to the Texan city of his birth in the company of Jason Moran (piano), Eric Harland (drums) and Reuben Smith (bass). It's a pleasingly breezy, positive and expertly crafted affair, with the quartet running through a series of ear-catching Smith compositions and a radical (and rather good) interpretation of an old Sam Rivers number. A wholehearted tribute to the rarely discussed cultural richness and diversity of Smith's home city.
Review: Espen Berg's Maetrix captures the pianist and composer at a bold creative high, as he upscales his craft, this time working with the celebrated Trondheim Jazz Orchestra. Originally premiered to a full ovation at the 2017 Molde International Jazz Festival, this six-part suite finally sees release, recorded between Oslo's Rainbow Studio and Ora Studio in Trondheim. Berg furthers his rep for rhythmic complexity and emotive depth to a 14-piece ensemble featuring standout artists Daniel Herskedal, Rob Waring, and Hayden Powell, while vocalists Kirsti Huke and Sissel Vera Pettersen ensure a graceful vocal topline. Echoes of Pat Metheny and Kenneth Dahl Knudsen waft through the compositions, but Maetrix stands firmly in Berg's own voice, radiating the sense of a collaborative effort years in the making.
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