Back catalogue: Funk Soul & Jazz

Review: Sharps and Flats, under the direction of Nobuo Hara, has significantly influenced Japan's big band jazz landscape. Their album Little Giant, originally released in 1970 as part of Victor's Japanese Jazz series, remains a key highlight in their extensive catalog. This release features the talents of notable composers and arrangers, including Masao Yagi, Kiyoshi Yamaya, Norio Maeda, and Masahiko Sato, alongside innovative arrangements of works by Oliver Nelson, a close collaborator. The albums intricate and bold arrangements reveal the band's exceptional performance caliber. The track 'Little Giant' radiates coolness, while 'Dark Horse' exudes strength. 'Orbit 8:11' introduces an edgy sound, and 'Flexibility' displays refined sophistication. The musicians deliver a compelling interplay of energy and calm, reflecting the band's versatility. Now reissued on vinyl, this work captures the distinctive charm and skill of Sharps and Flats, presenting an exciting experience for listeners. It's a vibrant representation of adventurous big band jazz that continues to resonate.

Review: Released in 1974, Santana's Lotus stands as a defining live album that brilliantly showcases the band's unique blend of rock, jazz and Latin influences. Recorded during their Japan tour, the album features standout performances recorded over two nights in Osaka, featuring Carlos Santana's exceptional guitar work and the band's vibrant improvisations. Highlights include iconic tracks like 'Black Magic Woman', 'Oye Como Va' and the extended jam 'Toussaint L'Overture', which illustrate the band's remarkable ability to create a cohesive and powerful sound. Originally intended as a Japan-only release, Lotus gained international acclaim as an import, displaying Santana at a pivotal moment in their evolution, with a mix of original and new members. The album's elaborate packaging enhances its appeal, rivaling the artwork of other notable triple live albums. Musically, Lotus focuses on instrumental jazz-rock, with minimal vocal tracks, yet it captures the sheer joy and energy of the band's live performances. While some may find the lengthy drum solo a weak point, the musicianship throughout the album is outstanding, making it an essential listen for fans of the genre. Overall, Lotus remains a testament to Santana's innovative spirit and live prowess, celebrated for its high sound quality and dynamic artistry.

Review: Mobile Fidelity's 180g 33RPM LP reissue elevates the album's sonic experience by sourcing it from the original analogue master tapes. Pressed at Fidelity Record Pressing, the reissue boasts pristine sound, revealing the intricate details of Santana's dynamic arrangements. Carlos Santana's guitar work, rich in clarity and precision, soars with newfound definition, making his signature solos and leads stand out even more vividly. Inner Secrets, Santana's 1978 album, marked a significant shift towards the rock mainstream, featuring three Top 100 singles and showcasing a more focused, streamlined sound. This period saw Santana transition from their earlier fusion-heavy style to more accessible, radio-friendly material, packing complex passages and passionate performances into tighter song structures, with no track exceeding six minutes.Notable contributions from new band members, including Pete Escovedo on percussion and Chris Solberg on multi-instrumental duties, further shape the album's sound, complementing Graham Lear's sharp drumming and David Margen's groovy bass lines. Highlights include covers like Buddy Holly's 'Well All Right' and the Four Tops' 'One Chain (Don't Make No Prison)'. Greg Walker's raw, soulful vocals bring an edge to the music, embodying the "street and church" quality Carlos Santana admired. Inner Secrets serves as a powerful milestone in Santana's evolution.

Review: Carlos Santana was one of the most prolific artists of the 1970s and 80s, and later in that period is when he released his fourth solo album. After a relentless pace of an average of more than an album per year since his band's 1969 debut, this Grammy-winning effort was his last release before a well-earned break in that run. The largely instrumental album showcases Santana's signature guitar tones with plenty of signature soulful energy and masterful control over his playing. He was supported by a stellar lineup including Tony Williams, Alphonso Johnson, Buddy Miles and Orestes Vilat and Mobile Fidelity's limited reissue presents the album with audiophile sound quality that reveals enhanced clarity and the intricate details of Santana's playing.

Review: Working in partnership with Light in the Attic and curated by Grammy-nominated producer, DJ and journalist Kevin Howes this wonderful new collection chronicles a vital musical migration: in late-1960s Toronto, Caribbean immigrants infused the city with ska, rocksteady and reggae and recorded some of the era's toughest tracks. Originators from Studio One, Treasure Isle and Trojan Records all united and broke racial and cultural barriers to build an influential yet under-appreciated Canadian reggae scene that is now showcased with a 20-page booklet with archival images, artist bios and essays on this double vinyl set.

Review: Carl Marshall's musical journey spans over 30 years, but his popularity has surged in recent times. Raised in the vibrant music scene of New Orleans, Louisiana, Marshall played guitar in Sam & the Soul Machine, which was a group featuring talents like Aaron Neville and Cyril Neville. In 1976, he debuted with Movin' On under the name Soul Dog and it included the proto-rap track 'Soul Dog' delivered in a trucker's MC style. Beyond performing, Carl worked as a radio personality at Kiss 104.1 in Meridian, Mississippi and his enduring dedication has cemented his legacy in the world of soul and funk, as has this wonderful showcase of his sound.

Review: A recent search through the Red Records archive uncovered two quarter-inch tapes, originally thought to be blank. To everyone involved's surprise, each reel held a previously unknown track by the cult jazz group Sphere. This find is remarkable for those who know as Sphere's official recording catalogue is notably sparse and in fact is limited to just two Elektra Musician releases and two Red Records live recordings. This discovery adds valuable depth to the legacy of a group with few official recordings and brings new weight to their influential contributions to jazz.

Review: Henley-born British soul singer Dusty Springfield's time in Memphis marked a turning point in her careeriboth an artistic triumph and a personal gamble. By the late 60s, she had outgrown the UK's pop scene, craving the depth and authenticity of American soul. Recording in the same studios as her heroes, backed by Atlantic Records' finest, she delivered some of her most breathtaking performances. The smoky tenderness of 'Just A Little Lovin'' and the aching vulnerability of 'I Don't Want To Hear It Anymore' showcase her gift for storytelling, while 'No Easy Way Down' and 'I Can't Make It Alone' push her voice to extraordinary places, balancing control with raw emotion. But despite the album's brilliance, commercial success eluded it, deepening her self-doubt. Springfield was a perfectionist, often wracked with insecurity, yet here she sounds unshackledifully immersed in the music she loved, even at great professional risk. Decades later, its impact remains undeniable.