Back catalogue: Jazz

Review: An album that defined the "cool" in West Coast Jazz when it emerged in 1960, it's a robust, swinging session led by the veteran Los Angeles-based tenor saxophonist. Edwards' smooth tone in the middle and lower registers, combined with a brassier edge in the upper range, showS his melodic inventiveness and dynamic fluidity. The primary rhythm section features Leroy Vinnegar on bass and Billy Higgins on drums, with either Amos Trice or, more often, Joe Castro on piano. Higgins, fresh off sessions with Ornette Coleman, locks into a straight-ahead groove, with the entire rhythm section swinging relentlessly. Pianists Trice and Castro bring a bebop-plus-barroom feel reminiscent of Sonny Clark, adding grit and charm to the quartet's sound. The program is largely blues and bebop-flavored originals, with several based on the chord changes of 'I've Got Rhythm'. The title track introduces a Latin flair, while Vinnegar's 'Vintage '57' offers variety.A pivotal moment in West Coast jazz when Edwards, once obscure, reemerged with vigour.

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: Madrid-based collective Danzon El Gato channel the city's restless creative energy into a vivid fusion of jazz, funk and roots music. Formed within Madrid's experimental scene, the group revolves around Javier Adan and Santiago Rapallo, longtime collaborators whose past projects range from jazz fusion to avant-garde film scores. This latest release sees them sculpt a kaleidoscopic sound, pulling from North African, Latin American and Mediterranean traditions while staying locked into the groove with a rhythm section indebted to 70s library music and golden-era hip-hop. Across the record, they explore an array of moods and textures. 'Ronda' pairs intricate guitar lines with a propulsive swing, while 'La lucha'ifeaturing Marina y su Melaoileans into percussive Latin jazz. 'Twangy Morocco' lives up to its name, weaving surf-rock guitar into an East-meets-West instrumental, whereas 'Chapoteo' ripples with aquatic, freeform interplay. 'Amambay' and 'Fuimos invencibles' showcase their knack for evocative storytelling through sound, shifting effortlessly between cinematic tension and unbridled release. Danzon El Gato craft music that reflects Madrid itselfidense with influences, rich in movement and ambiguousiin the best way. Their sound captures a city in flux, where past and present collide to create something unmistakably fresh.

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: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


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: Embryo, the music collective from Germany, rekindle the flaming title of "one of the most important German jazz-rock bands from the 1970s" with a brand new mini-LP on Sonarama. A neat collection of unreleased ethno-jazz from 1979-80, its rediscovery in the archives captures the band's formerly-only-hazily documented journey across Afghanistan, North Africa and the Near/Middle East, documenting the German supertroupe's late-career collabs with regional outfits, such as the Kabul Radio Orchestra and players from Eritrea, Syria, Morocco and Iraq. Blending trad melodies with free-flowing improv, this touring jazz explosion flaunts the many scalene modes native to such places; their provenance is esoteric and difficult to track down.

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: The newly unearthed 1970 Kongsberg Jazz Festival recording showcases Bill Evans' trio in a vibrant live setting. Featuring bassist Eddie Gomez and drummer Marty Morell, this performance highlights the trio's evolving synergy. Recorded during Evans' methadone transition, the set reveals a newfound energy in his playing, marked by dynamic tempos and a percussive vigor distinct from the introspection of his earlier live recordings. The tracklist balances brisk renditions of standards like 'So What' and 'Autumn Leaves' with contemplative pieces such as 'Quiet Now' and 'Some Other Time'. Highlights include the mid-tempo elegance of 'Turn Out the Stars' and the emotive 'What Are You Doing the Rest of Your Life?' Gomez's bass solos feature prominently, particularly on 'Come Rain or Come Shine' and 'Nardis', where his virtuosity shines. Morell's nuanced brushwork complements Evans' shifts in mood, particularly during the tender ballads. The setlist, reportedly tailored on the spot, reflects Evans' knack for adapting to his audience. The interplay among the trio is masterful, underscoring their tight rapport. This release is both a historical document and a compelling listen for fans of Evans' artistry.

Review: In 1971, this revered figure of Italian jazz, facilitated a remarkable session that brought together a talented ensemble of musicians, including trumpetist Francesco "Cicci" Santucci, saxophonist Enzo Scoppa and renowned keyboardist Franco d'Andrea. This collaboration, recorded at Umiliani's Sound Workshop studio in Rome, resulted in a brilliant jazz-funk album that blends intricate rhythms with melodic improvisation. Santucci and Scoppa, both seasoned in the late 50s Italian jazz scene, are joined by Belgian organist Joel Vendrokenbrak, adding a unique flavor to the mix. The album features d'Andrea on electric piano, a precursor to his future work with the progressive jazz group Perigeo. Originally released under a different name, this album is now reissued for the first time with its striking original cover art. The reissue includes a poster and a printed insert featuring images of the Sound Workshop studio, offering a deeper connection to the historical significance of the recording. With its masterful blend of jazz, funk and Italian creativity, this reissue is a significant addition to any collection of rare and influential jazz recordings.

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.