Back catalogue: Funk Soul & Jazz

Review: Renowned bassist Ron Carter's inaugural album, 'Where?' introduced a stellar lineup of talent alongside the main man including Eric Dolphy on clarinet, saxophone, and flute, and pianist Mal Waldron. Originally recorded at Rudy Van Gelder Studios in New Jersey in 1961, the record showcases the early brilliance of Carter's musical vision. Now reissued as part of the Original Jazz Classics Series, this edition is pressed on high-quality 180-gram vinyl by RTI. Mastered with meticulous care by Kevin Gray at Cohearent Audio, using analogue techniques from the original tapes, this release offers a pristine listening experience and is a great chance to rediscover the timeless allure of Carter's debut masterpiece.

Review: The Black Hawk Vol. 1 by Shelly Manne & His Men is a classic hard bop album that captures the energy and excitement of a live performance. Originally released in 1960 and now in 2024 with stunning sound quality. The album features a dynamic band led by the legendary drummer Shelly Manne, who is widely regarded as one of the greatest jazz drummers of all time. The group also includes tenor saxophonist Richie Kamuca, trumpeter Joe Gordon, pianist Victor Feldman, and bassist Monty Budwig. The album opens with a laid-back rendition of "Summertime," which sets the stage for the more up-tempo bop tunes that follow. The band swings with effortless precision, and the solos are all top-notch. At The Black Hawk Vol. 1" is a must-listen for any fan of hard bop or jazz in general.

Review: The pioneering American jazz trumpeter Howard McGhee was one of the first to do bebop and this is often noted as a legacy for which he never truly did receive credit by the history books. Maggie's Back In Town!!, however, released in 1961 on the Contemporary label, is the most likely candidate for piercing this occlusive remainder; it's a tight, light tsk-tsker, on which McGhee's playing is never once heard getting ahead of itself or biting off more than it can chew. The mood is laconic and muted, as if to demonstrate McGhee's relaxed persona and long-awaited return to town. Phineas Newborn Jr (piano), Leroy Vinnegar (bass) and Shelly Manne (drums) add to the hoo-hah with their virtuosic but subtle sang-froid.

Review: A striking album of the bop era that was highlighted by his undying conviction and ability to reclaim his status as a primary architect of the genre. The album is built around two exceptional groups: a sextet and a quintet, both anchored by Davis' blue-chip rhythm section of Horace Silver (piano), Percy Heath (bass) and Kenny Clarke (drums). The sextet features trombonist J.J. Johnson and tenor saxophonist Lucky Thompson, while the quintet adds Dave Schildkraut (alto sax), whose contributions, though lesser-known, are memorable. The title track, an extended 12-bar blues, shows Davis' ability to exude an air of detachment from the music, making it feel like an extension of his solo rather than the other way around. 'Blue 'n' Boogie', in contrast, is a lively, energetic tune where Davis and Johnson engage in spirited improvisation, with Johnson even quoting from Thelonious Monk's 'Rhythm-A-Ning'. 'Solar' introduces a delicate interplay, with Silver's piano solo displaying an Ellington-esque elegance. The album's final track, 'Love Me or Leave Me', foreshadows Davis' later breakthrough, with his swift and decisive trumpet solo hinting at the bold innovations to come. Walkin' stands as an essential bop-era classic, with Davis' brilliant command over his instruments and his bandmates, with pieces like 'Walkin'' and 'Solar' cementing its place as a foundational jazz work.

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


A striking album of the bop era that was highlighted by his undying conviction and ability to reclaim his status as a primary architect of the genre. The album is built around two exceptional groups: a sextet and a quintet, both anchored by Davis' blue-chip rhythm section of Horace Silver (piano), Percy Heath (bass) and Kenny Clarke (drums). The sextet features trombonist J.J. Johnson and tenor saxophonist Lucky Thompson, while the quintet adds Dave Schildkraut (alto sax), whose contributions, though lesser-known, are memorable. The title track, an extended 12-bar blues, shows Davis' ability to exude an air of detachment from the music, making it feel like an extension of his solo rather than the other way around. 'Blue 'n' Boogie', in contrast, is a lively, energetic tune where Davis and Johnson engage in spirited improvisation, with Johnson even quoting from Thelonious Monk's 'Rhythm-A-Ning'. 'Solar' introduces a delicate interplay, with Silver's piano solo displaying an Ellington-esque elegance. The album's final track, 'Love Me or Leave Me', foreshadows Davis' later breakthrough, with his swift and decisive trumpet solo hinting at the bold innovations to come. Walkin' stands as an essential bop-era classic, with Davis' brilliant command over his instruments and his bandmates, with pieces like 'Walkin'' and 'Solar' cementing its place as a foundational jazz work.

Review: Walkin' was (and is) a key album in Miles Davis’ discography. It contains the product of two different sessions: the first date, which is actually the second chronologically, yielded just two tracks, ‘Walkin’’ and ‘Blue N’ Boogie’. Although something new for the time, these were long enough to fill one side of the ensuing LP. On the B-side is the record of a more fruitful session, quantity-wise: the expository ’Solar’ is a serene an carefree bop, keeping up airy echelons of sax and double-tsking rides amid cloud-chopped rays of sunlight. Then comes the careful channelling of blue resentment, ‘You Don’t Know What Love Is’, a difficult-to-achieve, but beautifully executed take on the bittersweet aftertaste of failed amity.

Review: As part of the newly relaunched Original Jazz Classics Series, Kevin Gray at Cohearent Audio has remastered this seminal jazz record from Thelonius Monk and John Coltrane from the original tapes and in all analog fashion. It's a deserving treatment for what many believe to be one of the great ever collaborative jazz records. As well as those two legendary players and jazz innovators, further greats joined in the recording sessions including Art Blakey on the drums, Wilbur Ware on bass, and alto sax from Gigi Gryce. What a piece of history it is too.

Review: Revered jazz guitarist Wes Montgomery originally released Full House in 1962, and it became one of his most popular albums. Recorded live at Tsubo coffee house in Berkeley, California, the classic LP showcased particular selections from his performance which became hugely influential thanks to Montgomery's distinctive, expressive tone. Now Craft have gathered together all the original analogue tapes to present a definitive edition of the album spread across three discs, including some alternate takes recorded during the hybrid recording session and concert. After his untimely passing in 1968, Montgomery's playing became a source of fascination for successive generations of jazz guitarists, and here, laid out in comprehensive fashion, is the reason why.

Review: Legendary jazz drummer Idris Muhammad really made his mark with his debut album Black Rhythm Revolution! for the Prestige label in 1970. Originally recorded at celebrated Rudy Van Gelder studio in Englewood Cliffs, it is bookend by length tunes 'By the Red Sea' and 'Wander' which feature tight grooves, compact solos and memorable melodies. It is not as intense of some of his later work and features the likes of Virgil Jones on trumpet Clarence Thomas on tenor and soprano saxophone and Jimmy Lewis on electric bass. Craft present this reissue with original artwork on nice 180 g limited edition vinyl.