Back catalogue: Funk Soul & Jazz

Review: The collaboration between Kyoto Jazz Sextet and Takeo Moriyama on their album Succession delivers a mesmerising fusion of traditional and contemporary jazz. Through intricate rhythms and soulful melodies, the album offers up a seamless blend of past and present that manages to honour jazz traditions while pushing new musical boundaries. Moriyama's percussive mastery adds depth and authenticity to the ensemble's dynamic compositions and creates an immersive vibe that captivates from start to finish.

Review: This Price album was originally part of the 2023 Diamonds and Pearls Super Deluxe box set, but now the triple vinyl live recording arrives on standalone yellow vinyl in a fancy triple gatefold sleeve. It was initially captured on January 11, 1992, at Prince's Glam Slam club in Minneapolis and is a performance that showcases Prince and The New Power Generation at their creative peak, just ahead of their epic world tour. Spanning over 100 minutes and 14 tracks in all, the still electrifying set focuses on material from the Diamonds and Pearls era and includes a preview of the then-unreleased 'Sexy M.F.' to make for a fine snapshot of a new era in Prince's evolving sound.

Review: Horace Tapscott founded the Pan African Peoples Arkestra in Los Angeles in 1961, foregrounding community and expressions for Black people and their arts. Across their considerable legacy, this live album is one of the Arkestra's standout moments and now it's finally being repressed. Scott's leadership guides the Arkestra on a journey through the most life-affirming spiritual jazz, fuelled by Afro-centric rhythms, meandering basslines and soaring flute and horn arrangements. Recorded at the Immanuel United Church of Christ in LA in 1979, this double album is a stunning document of Tapscott's project during a golden era for underground jazz.

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: In 1957, Art Taylor brought together an all-star ensemble for a recording session that captured the swinging energy of his Taylor's Wailers group. Featuring Donald Byrd, Charlie Rouse, and Jackie McLean, this Prestige session showcased the rhythmic intensity expected from a drummer-led band. The inclusion of two Thelonious Monk compositions, 'Well, You Needn't' and 'Off Minor,' arranged by Monk himself, adds a distinctive flair. Another highlight is Jimmy Heath's 'C.T.A.,' featuring John Coltrane alongside Red Garland and Paul Chambers, a dream lineup of Prestige regulars. Taylor's Wailers embody the pulse and drive of jazz's golden era, making this a timeless addition to any collection.

Review: Cecil Taylor's Live at the Cafe Montmartre captures a transformative night in jazz, with Taylor leading a powerhouse trio featuring Sunny Murray on drums and Jimmy Lyons on alto sax. Recorded in Copenhagen on November 23, 1962, this landmark set is Taylor at his most innovative, merging fierce improvisation with raw, rhythmic freedom. The opening track, 'Trance', immediately challenges traditional jazz rhythms, with Murray redefining percussive timing, while Lyons' sax riffs anchor the swirling chaos. In 'Call', Taylor's piano spills out haunting, dissonant notes, crafting a noir-esque atmosphere that dissolves rhythmic boundaries. By the time 'D Trad, That's What' closes the set, the trio is in full flightia 21-minute frenzy that matches the legendary energy of Coltrane's performances. Legend has it that Taylor was inspired by a Coltrane concert the night before and the influence is palpable, driving each musician to extraordinary limits. Remastered by Dave Gardner for audiophile-grade vinyl, this release brings the brilliance and intensity of Taylor's pioneering vision into sharp relief. It's essential listening for jazz fans and anyone eager to experience the beginnings of true free jazz.

Review: The Alternate Blues presents a standout gathering of three iconic trumpeters - Dizzy Gillespie, Freddie Hubbard, and Clark Terry - alongside jazz luminaries like Oscar Peterson, Joe Pass, Ray Brown, and Bobby Durham. Recorded in 1980, this album captures the essence of a classic jam session, showcasing the musicians' virtuosity and camaraderie. The slow blues jams on this album, each exceeding eight minutes, allow the players ample space to explore and express themselves. Despite the relaxed pace, the performances are emotionally charged, drawing listeners into the heart of the blues tradition. Granz's decision to release alternate takes adds a layer of authenticity, capturing the spontaneity and energy of the sessions. Highlights include Hubbard's soulful rendition of 'Here's That Rainy Day' and the stellar ballad medley featuring all three trumpeters. The interaction between the musicians is seamless, resulting in a cohesive and stunning recording. In sum, The Alternate Blues is a bookmark for jazz aficionados, offering a rare glimpse into the creative process of three legendary trumpeters.

Review: Thelonious in Action, recorded live at the Five Spot Cafe in 1958, captures jazz king Thelonious Monk at his improvisational best. Featuring Johnny Griffin on tenor sax, Ahmed Abdul-Malik on bass and Roy Haynes on drums, the album showcases the quartet's dynamic interplay and Monk's unique, percussive piano style. Highlights include the lively 'Blue Monk' and the intricate 'Rhythm-A-Ning.' Griffin's robust sax lines complement Monk's eccentric rhythms throughout to create a vibrant, engaging atmosphere. The album's live setting adds an intimate, spontaneous feel, making this newly reissued classic a must listen for jazz enthusiasts and a brilliant example of Monk's enduring genius.

Review: Up next in the gamut of Coil-adjacent reissued gems is this 3xLP vinyl version of The Threshold Houseboys Choir's Amulet. Having gone down in whispered legend as the ultra-secret limited-quantity direct mail-order (we could go on) holy grail that flaunted Peter "Sleazy" Christopherson's then latest semi-secret solo guise, Amulet was an exemplar of Marshall McLuhan's definitive aphorism, "the medium is the message," coming housed in a hand-assembled 4xCDr mini-set enclosed in an original, circular Thai Amulet case. The second and final release of this short-lived and much coveted moniker, Amulet, now hearing the vinyl reissue it deserves, is a rough collection of obsessive ritualistic diamonds in the rough, stylistically drawing on dub, drone, power electronics and East Asian music, and brought together by Christopherson's trademark digitally generated choir - whose verbalisations are wilfully incomprehensible, with the intent to sound uncanny, dreamlike - and which he often reverses and timestretches to unsettling effect.

Review: Catch The Groove: Live At The Penthouse 1963-67 does what it says on the tin; with all of the performances heard on this set having previously unreleased, Latin jazz vibraphone legend Cal Tjader is heard with a variety of quintets at the seminal Pacific Northwest venue; he's heard backed by pianists Clare Fischer, Lonnie Hewitt and Al Zulaica, bassists Fred Schreiber, Terry Hilliard, Monk Montgomery and Stan Gilbert, drummers Johnny Rae and Carl Burnett, and percussionists Bill Fitch and Armando Peraza. Part of a new series homing in on live jazz greats by record producer and "Jazz Detective" Zev Feldman, Tjader more than fits into this retrospective effort, with Feldman himself noting the bittersweet diminution of Tjader's popularity in the present era, despite commanding reams of attention from a massive audience while he was alive. All's well that ends well, then: this one comes as both a deluxe LP and CD edition for new-heads and completists alike.