Sun Ra & His Myth Science Arkestra - "Somewhere In Space"
Sun Ra & His Solar-Myth Arkestra - "The Lady With The Golden Stockings"
Sun Ra & His Afro Infinity Arkestra - "Somebody Else's World"
Sun Ra & His Solar-Myth Arkestra - "Plutonian Nights"
The Sun Ra Arkestra - "Angels & Demons At Play"
Sun Ra - "Island In The Sun"
Sun Ra - "Rocket Number Nine Take Off For Planet Venus"
Sun Ra & His Arkestra - "Afro Black"
Sun Ra & His Intergalactic Infinity Arkestra - "Have You Heard The Latest News From Neptune"
Sun Ra & His Myth Science Arkestra - "We Travel The Spaceways"
Sun Ra & His Solar Arkestra - "Reflects Motion" (part 1 previously unreleased)
Sun Ra & His Solar Arkestra - "Reflects Motion" (part 2)
Sun Ra - "Ancient Ethiopia"
Review: There have been plenty of retrospectives on the absolutely essential work of Sun Ra and his Arkestra over the years, but trust Strut to go that bit deeper when they elected to focus on the Sun God himself. As the extensive title suggests, this collection places the focus on proceedings in the hands of Marshall Allen, the longest serving member of the Arkestra and current band leader. The results mean In The Orbit Of Ra feels a whole lot more personal and indepth, with over 25 years worth of Sun Ra-lead music documented. It's all been fully remastered from the original tapes and is pretty much the most conclusive introduction to the work of this pioneer one could hope for. In addition to the 13 track double vinyl set, this release also includes the double CD edition which includes a further 7 Ra gems!
Review: The reissues of the seminal Black Jazz catalogue keep on coming thick and fast. This one focuses on the only group to ever have recorded on the label. The Awakening were one of the greats of the early 70s but never quite got their dues, which is said to be because of being held back by the Black Jazz label's distribution woes. Their early records are hard to find and expensive when you do and this, Mirage, was their second in 1973. It features a line-up of Chicago based musicians plus bassist Rufus Reid on a couple of tracks. Spiritual jazz, free jazz, soul jazz and fusion jazz all feature across the seven sizzling cuts.
Review: Tenor saxophonist Barney Wilen made his debut splash when he was just 20 years old, impressing all those around him with the incendiary Guilde Du Jazz: 1957 album. Across the album, laggard, carefree swing and roomy bop abounded stylistically, leading one of his major inspirations, Miles Davis, to remark: "this is the best tenor saxophone I've heard in Europe; he plays tenor in an authentic way, much better than many current stars in the States." Unfortunately, this record was not widely distributed in Wilens' native France because he was under contract with the French label Vogue. Now reissued in its true home country under the wing of Sam Records, Wilen's Guilde is returns as an impressive portrayal of the saxophonist's aptitude for wild, ghostly playing, which succeeds in evoking a feeling of the uncanny despite its jubilant style.
Review: Ray Barretto's career as a Nuyorican conguero and bandleader brought together jazz, Afro-Cuban rhythms, and R&B into a groundbreaking fusion. His mastery shines through in the energetic ensemble performance, featuring trumpeters Roberto Rodriguez and Rene Lopez, bassist Bobby "Big Daddy" Rodriguez, and vocalists Pete Bonet and Adalberto Santiago. The opening track drives with a funky bassline, while the shifting rhythms of 'Sola Te Dejare' spotlight Barretto's mastery of mambo and guaracha. Captured in real-time without overdubs, the music channels the revolutionary spirit of Latin jazz and the vibrant New York-Puerto Rican experience.
Review: Here comes a newly discovered recording by the Bill Evans Trio. It's a live recording that had Eddie Gomez on bass and Eliot Zigmund on drums and was captured on June 20, 1975, at Oil Can Harry's in Vancouver for the radio host Gary Barclay and his CHQM jazz show. The tape has lay lost for almost 50 years but now, after audio restoration by Plangent Processes it sounds as fresh as it ever did. Grammy winning writer, radio host and journalist Neil Tesser has also penned all new liner notes to accompany this special release.
Review: 'Destiny Is Yours' is an album led by saxophonist Billy Harper recorded in 1989. Made with a backing band conisting of such peers as Clarence Seay (bass), Newman Baker (drums) and Francesca Tanksley (piano), 'Destiny is Yours' hears the master tenor saxophonist trill, melismate and lyricise his way through a virtuosic interpretation of the instrument, often transcending our expectations of what can be humanly achieved - at least in terms of how quickly he moves through passing notes, octaves and chromatics. At times screechy yet no less euphoric, this is a criminally underrated gem, rightfully re-pressed by Steeplechase.
Review: Violin extraordinaire and singer Andrew Bird teams up with an Americana icon, whose star has risen and is continuing to rise - Madison Cunningham. Bird says of Cunningham that she is one of the most talented musicians he's ever encountered. Together they've covered the 1973 album Buckingham Nicks - Stevie Nicks and Lindsey Buckingham's pre-Fleetwood Mac LP and done a brilliant job of it. Buckingham Nicks was a flop commercially when it was released and despite the duo's subsequent success it was never remastered or re-released digitally, so hard to come by. Thankfully, Cunningham and Bird bring this underrated gem into the limelight and do so in style. "The best reason to cover anyone is that little part of you that thinks you might do it better. This album epitomizes excess and confidence and it only made sense to embody that spirit ourselves," says Bird in a press release. And he's quite right - there's no misplaced arrogance here - they've nailed this homage to a classic.
Review: It's often the albums that fall between the cracks that are the greatest. Violin virtuoso and singer Andrew Bird and Americana singer-songwriter Madison Cunningham shine a light on the underrated pre-Fleetwood Mac gem of an album, Buckingham Nicks, by fully covering it. Released five years before Stevie Nicks and Lindsey Buckingham went on to have mega success with Rumours, Buckingham Nicks was such a flop commercially that they were dropped by their label Polydor. But it is a cracking album and in covering it in their own style and having a palpably strong musical connection as a duo themselves, Bird and Cunningham have done it absolute justice and changed it. They have shed the 70s pop sheen of the original and made something more timeless to behold. 'Stephanie' is moody, majestic and cosmic and 'Without A Leg To Stand On' is one of the most stirring vocal performances you'll hear in 2024. A highly rewarding listen throughout.
Review: First Flight to Tokyo: The Lost 1961 Recordings is sure to be a real thrill for fans of Art Blakey and his Jazz Messengers. It is a never before rebased or heard recording of a show they played at Hibiya Public Hall in Tokyo on January 14, 1961. The group was one of the first to tour the country and enthralled caudices everywhere they played. At the time, the band was made up of Lee Morgan on trumpet, Wayne Shorter on tenor sax, Bobby Timmons on piano and Jymie Merritt on bass and for this set they performed plenty of classics such as Charlie Parker's 'Now's the Time' and Thelonious Monk's 'Round About Midnight.'
Review: Blue Mode and El Chavo present two fantastic new cover versions. The A-side is of course one of the biggest tunes of the grunge era, and is here lent a jazzy, funky, groovy alteration by Blue Mode - though it is an ostensible Nirvana cut, the band were influenced by everything from the Gap Band to Louie Louie and a fair smattering of 80s indie here. This production by Chip Wickham mixes a swinging 60s Blue Note vibe and acid jazz refrains, brings it bang-up-to-date with contemporary nu-jazz. Side B is a boogaloo Latin jazz version of the Lonnie Smith track 'Hola Muneca', beloved of the acid jazz era's foremost DJs, and formerly released on a now impossible-to-find 7" single that shifts for crazy prices.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Chitlins Con Carne (5:28)
Mule (6:56)
Soul Lament (2:42)
Midnight Blue (3:57)
Wavy Gravy (5:38)
Gee Baby Ain't I Good To You (4:24)
Saturday Night Blues (6:09)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Kenny Burrell's Midnight Blue, recorded in 1963, stands as one of the finest examples of jazz guitar blended with deep blues. Backed by an impressive lineup including Stanley Turrentine on tenor sax, Major Holley Jr. on bass, Bill English on drums, and Ray Barretto on congas, the album creates a warm, late-night mood. Burrell's originals like 'Chitlins con Carne', 'Midnight Blue' and the beautiful solo guitar piece 'Soul Lament' bring a rich, soulful character to the session. Known for his smooth, understated approach, Burrell fills the record with subtle elegance. Turrentine's big, soulful sax and Barretto's rhythmic congas add layers of texture, making this a truly great listen. The relaxed, intimate atmosphere captured by Rudy Van Gelder's exceptional recording skills allows each instrument to shine, with Burrell's guitar work at the center, delivering warmth and swing with a vintage touch. This edition, all-analog and pressed on 180g vinyl, brings the full depth of the original sound to life.
Review: Caixa Cubo's latest release highlights the trio's effortless blend of samba-jazz, funk and MPB. Rooted in Brazilian traditions, the tracks carry grooves reminiscent of 1970s legends, yet feel distinctly modern. With rich keyboard harmonies, vibrant percussion, and basslines that lock into irresistible rhythms, the group bridges nostalgic warmth with contemporary flair. Each composition reflects a deep understanding of their heritage, drawing from carnaval marches and baiao while infusing experimental touches that keep things fresh.
Review: The Sound Of Music had a long-lasting impact, and one of its cornerstones was 'My Favourite Things', later covered by trumpeter-visionary John Coltrane. Coltrane's version - the lead track from the album of the same name - helped cement the song's cultural standing, topping the charts in several countries. Three other tracks appear on the album in mono; Cole Porter's 'Ev'ry Time We Say Goodbye', and two standards from the Gershwin twins on the B side. This new reissue by Rhino, however, has both stereo and mono, along with new liner notes: we're blown away by this light-hearted trumpet masterpiece.
Review: Long-established Italian producer Nicola Conte started working with jazz trombobist Gianluca Petrella back in 2017. In the years since, they've released a string of singles that fuse contemporary house sounds with the rhythms and musical styles of Africa. Here they present their collaborative debut album, People Need People, an effortlessly soulful affair that draws deeply on the pair's joint love of deep jazz-funk (see 'Hold On To Your Dreams') and the funk-fuelled goodness of Afrobeat ('Nigeria'). Throw in versions of those previously released singles (think 'African Spirits' and 'New World Shuffle' for starters), and you've got a highly entertaining full of high-quality musicianship and plenty of life-affirming melodic motifs.
Review: Milestones is the full-pun-intended landmark 1958 album by the legendary jazz trumpeter Miles Davis, which marked his transition from hard bop to modal jazz. Featuring classics like 'Milestones', 'Straight, No Chaser' and 'Two Bass Hit', it was notable as one of Davis' earliest experimentations in public with modal scale patterns that was available commercially. Marking a great milestone since its original release in mono, it now comes pressed on numbered 180 gram SuperVinyl - which is a new ultra-quiet vinyl formulation which enhances the sound quality and durability of original recordings - as well as with a deluxe gatefold jacket and a booklet with rare photos and liner notes.
Review: These artists got together back in 1969 to record Let The Sunshine In, a landmark album that blended jazz, rock and soul into a vibrant sound that captured the spirit of its era with its experimental soundscapes and electrifying performances. These two tunes are taken from the album and come on 7" for useful DJ deployment. Driscoll's emotive, soulful vocals pair beautifully with Auger's masterful Hammond organ and the Trinity's dynamic instrumentation. The title track in particular is a real anthem of its day and is sure to make just a s much of a mark all these years on.
Is It Sunny Or Cloudy In The Land You Live? (4:58)
Tenkou! Why Feel Sorry? (3:59)
Ethiopia My Motherland (5:08)
Where Is The Highway Of Thought? (3:49)
Don't Forget Your Country (3:28)
Like The Sun Shines On Meadows (5:48)
Review: The first vocal album by beloved Ethiopian nun, composer, and pianist Emahoy Tsege Mariam Gebru, Souvenirs is a profound and deeply moving home collection of cassette recordings made amidst political upheaval and turmoil. These are songs of wisdom, loss, mourning, and exile, sung directly into a boombox and accompanied by Emahoy's unmistakable piano. Though written and recorded while still living at her family's home in Addis Ababa, Emahoy sings of the heartache of leaving her beloved Ethiopia, a reflection on the 1974 revolution and ensuing Red Terror in her homeland, and a presentiment of her future exile in Jerusalem. Rich with the sound of birds outside the window, the creak of the piano bench, the thump of Emahoy's finger on the record button, they create a sense of place, of being near the artist while she records. Emahoy's lyrics, sung in Amharic, are poetic and heavy with the weight of exile; she dreamt of releasing this music to a larger audience before her passing in March of 2023, so in her honour, Mississippi present this album in collaboration with her family now, in what would have been her 100th year.
Review: What drives Amaro Freitas in life is experience. In 2020 the pianist, who hails from the Northeastern Brazilian coastal city of Recife, was drawn to Manaus, located in the Amazon basin, some 4600 kilometers to the west. His experience in that lush wilderness led him into a new realm of musical creation, one rooted in magic and possibility and tempered by a sense of stewardship for the earth's bounties and a connection to the Satere Mawe indigenous community. Crucial to the experience for Freitas was the maintenance of a true exchange of knowledge. According to Freitas, in the resulting album, Y'Y (pronounced: eey-eh, eey-eh), he pays "homage to the forest, especially the Amazon Forest, and the rivers of Northern Brazil: a call to live, feel, respect, and care for nature, recognizing it as our ancestor." This album is an artful conversation between its traditions, rooted in the unique sounds and rituals found in Afro-Brazilian and Indigenous cultures. With Y'Y, Freitas further codifies his fresh, 'decolonized' interpretation of Brazilian jazz, one that may well shatter preconceived notions of what jazz can be.
Review: If you like hip hop and broken beats and top-class edits you will already be fans of Black Cash & Theo AKA Thelonious Beats. They have got a bottomless discography full of it and mostly on their own Galaxy Sound Co label. Here comes another addition to the cannon in the form of a pair of glorious jazz-funk nuggets, starting with 'Footin' It' by George Benson from his fifth studio LP back in 1968. On the flip is a 1973 cut from pianist Les McCann. 'The Harlem Buck Strut' was from a groundbreaking jazz-synth album and you can tell why here with its forward-looking sounds and designs still sounding ahead of its time.
El Hijo Del Buno - "La Danza Del Espiritu" (feat Los Gaiteros De Pueblob Santo) (3:32)
De Mar Y Rio - "Bailen Y Gocen" (3:52)
Umu Obiligbo - "Udemba" (3:35)
Amadou Balake - "Massa Kamba" (4:33)
Joi N'juno - "Samemala" (5:18)
Avila Santo - "Wole" (3:44)
Oliver N'goma - "Icole" (5:15)
Patrick Saint-eloi - "Ay Pwan Van" (5:53)
Timothee Et Pot & Co - "Rentre Dans Ton Hlm" (2:59)
Adelasio Muangole - "Nao Fatiga Muangole" (5:24)
Locobeach - "Idea Desesperada" (4:05)
Review: Guts is a renowned French producer, DJ and vinyl connoisseur known for curating impeccable selections of global sounds. He has done so three times before for this series on Heavenly Sweetness and now returns with a fourth volume that arrives just in time for party season. This essential compilation traverses vibrant Latin rhythms, dynamic Afrobeat, soulful grooves and infectious tropical rhythms to make for a far-travelling listen. Again it shows off Guts' unmatched ability to uncover hidden gems and present them with fresh energy in an eclectic yet cohesive celebration of music's global spirit.
The Curse (Blood Of An Innocent Is Spilled) (5:38)
The Bird Of A Thousand Voicesf (3:28)
Areg's Calling (Towards The World Above) (5:06)
The Quset Begins (4:40)
The Path Of No Return (3:12)
Areg & Manushak (He Saw Her Reflection In The Water) (3:59)
The Saviour Is Condemned (1:54)
Guidance (Areg Meets Zaman) (2:21)
Flaming Horse & The Thunderbolt Sword (From The Depths Of The Sea) (3:46)
Red, White & Black Worlds (6:14)
Bells Of Memory (2:05)
Only The One Who Brought The Bird Can Make It Sing (5:23)
Prophecy Of A Sacrifice (4:10)
The Demon Of Akn Anatak (2:16)
Temptations (Follow The Luminous Feather (2:34)
Forty Days In The Realm Of The Bottomless Eye (He Brings Light Into The Soil Of Evil) (3:56)
He Refuses To Be Immortal (The Goddess Of Paradise Gives Him The Enchanting Bird) (4:27)
The Return (Through Vast Deserts, Seas & Dark Mountains) (2:59)
Betrayed By Brothers (1:55)
The Well Of Death & Resurrection (4:41)
Sing Me A Song When You Will Be At The Place Where All Is Bliss (2:30)
The Eternal Bird Sings & The Garden Blooms Again (5:57)
Postlude: After Seven Winters (2:23)
Review: Tigran Hamasyan's latest album, The Bird of a Thousand Voices, is his most ambitious work yet and one inspired by a traditional Armenian tale. This transmedia project includes a staged play that premiered at the Holland Festival back in June of this year plus two cinematic music videos, a documentary video, and an online game. The ancient firebird tale, passed down through spoken word over the generations, symbolises the modern world's quest for connection amidst ecological, psychological, and spiritual challenges. By blending Armenian traditional music with jazz improvisation, Tigran, who himself is one of today's most innovative jazz pianists, continues his artistic collaboration with filmmaker Ruben Van Leer to create unique musical experiences.
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