Back catalogue: Funk Soul & Jazz

Review: Art Blakey's Jazz Messengers were one of the most potent forces in the hard bop era - and this live album proves the point in no uncertain terms. Recorded at Parisian concert venue L'Olympia in 1958, around the same time Holiday For Skins was released, this is the sound of a band in full flight, springing through uptempo cuts and softer reveries with irrepressible joy and feeling. Blakey on drums was backed up by Lee Morgan on trumpet, Benny Golson on tenor sax, Bobby Timmons on piano and Jaymie Merritt on bass, winding up in an exuberant ensemble who deliver their sound with focus and urgency.

Review: Boz Scaggs' 1969 album, blending Southern rock, blues and r&b, wasn't a commercial success but it set the stage for his future successes. Recorded at Muscle Shoals with co-producer Jann Wenner, the album captures the raw energy and magic of a remarkable collaboration. Scaggs' smooth, mellow vocals blend seamlessly with the legendary Muscle Shoals rhythm section, led by Duane Allman's iconic guitar work. The album spans multiple genresifrom country-tinged 'Waiting for a Train' to the sultry blues of 'Loan Me a Dime'. The latter, in particular, became a standout, with its extended, fiery guitar solos and a signature groove that captured the imagination of FM rock stations. The album's charm lies in its organic, unpretentious feel, as Scaggs and the musicians create something truly magical over six days of spontaneous recording. It's a celebration of Southern soul with a West Coast twist and it remains a fascinating glimpse into an artist finding his voice in the heart of Muscle Shoals.

Review: This trio performance from saxophonist Peter Brotzmann, drummer Milford Graves and double bassist William Parker now gets a look back via Black Editions, and captures a moment in time when greater synergy between jazz musicians might have been possible. Broadcast from the front room of CBGBs in 2002, this is the first ever recording of the band playing together, mainly cementing Graves' chops and standing as an immensely great drummer and worthy of his place in the percussive hall of fame. Graves lives up - our through - to his Thurston Moore-dubbed "living myth" status, with each musician feeding off each other in an impossibly timeless, rare, and sleek New York jass standoff.

Review: This album recorded by Tatum and Webster in 1956 came just prior to Tatum's passing less than two months later. Revered as a masterpiece, the dynamic interplay between Webster's blend of aggression and lyricism and Tatum's flamboyance and delicacy creates a captivating encounter, with Callendar and Douglass providing impeccable support. Reissued previously by Essential Jazz Classics, this new edition adds bonus tracks from a 1953 Tatum solo session and four numbers from a summit meeting between Webster and Teddy Wilson.The opener sets a languid tempo, diverging from the breakneck pace of many bebop jams, establishing the album's relaxed vibe. And even as later cuts quicken the pace, there's an underlying sense of ease that permeates throughout. Tatum's cascades of notes serve as ornamental accents rather than urgent directives, while Webster, despite the excess reverb of the era, focuses on melody.

Review: Often touted as a "masterpiece of jazz-funk live albums," The Wooden Glass's 1972 live recording proves it's more than just hype. Featuring vibraphonist Billy Wooten who previously played with Grant Green, this record was recorded at Indianapolis' The 19th Hole club and captures the essence of fusion driven by soulful 60s influences. Wooten's gentle melodies contrast with the gritty, distorted sound of Harold Cardwell's powerful drumming and Emmanuel Riggins' Hammond organ while the energetic performance from the band, including guitarist William Roach, creates a tapestry of intensity and dreamlike vibes. It's raw, electrifying, high-energy jazz.