Chez Madame La Baronne (Idjut Boys Fazz Junk version)
Review: Earlier this year, French disco and jazz-funk combo Chatobaron joined forces with fellow Parisian Dimitri From Paris for the rather good 'I Like (The Music That You Play)'. While that was a wholehearted disco workout, this speedy sequel sees the band (and their high-profile collaborator) explore their West Coast jazz-funk influences via an inspired workout full to bursting with killer instrumental solos, dusty grooves, memorable motifs and a genuinely killer, cowbell-sporting percussion brerak. This time round, there are no Dimitri From Paris remixes; instead, dubbed-out disco favourites the Idjut Boys are on hand to smother the track in tape echo and dub delay. The result is a typically spaced-out, low-slung affair that naturally makes the most of the band's killer bassline and layered percussion sounds.
Get Down Everybody (It's Time For World Peace) (4:23)
Quiet Dawn (3:29)
Sunbeams (3:50)
Meditations (4:21)
Peace & Love (2:31)
Beautiful Woman (6:03)
Goddess Of Love (4:18)
Inner Beauty (2:15)
Golden Dreams (4:49)
Journey Into Space (2:15)
Review: Lonnie Liston Smith's legacy in the world of spiritual jazz, soul and funk is huge, but he remains an often overlooked figure only discovered by those with a dedication to the music. As such, his albums are always worthy of reissue to hopefully reach more ears in need of the gifts they possess, and while Expansions is rightly considered his landmark offering, this swift follow up with The Cosmic Echoes is just as essential. Just melt into the bubbling, fast-slow reverie of 'Beautiful Woman' and let Smith's exquisite talents carry you away. If you already know the music, then take a chance to cop a freshly remastered edition, and if you're not familiar with Smith's work then take this golden opportunity to expand your horizons.
Review: The Tone Poet series is one in which Blue Note revisit some of its most classic albums and gives them some fresh attention. This vinyl edition of Stanley Turrentine's 1964 recording of Mr. Natural was produced by Joe Harley and has been mastered by Kevin Gray, who worked from original master tapes. It's pressed on 180g vinyl and comes in a lovely and deluxe gatefold tip-on jacket. It is a great record from the soulful tenor saxophonist and Blue Note stalwart with help from Lee Morgan on trumpet, Elvin Jones on drums, McCoy Tyner on piano, Bob Cranshaw on bass, and Ray Barretto on congas.
Review: Individuality, Harmony, Wit.
Originating from the heart of Asia - Taipei, Taiwan, Zy The Way is a fusion collective spear-heading a new musical movement in a digital age. As the offspring of a film director, entertainers and multi-genre musicians, Zy The Way aims to create artistic content that will rock your socks. We believe that true balance is achieved not through the uniting of different social groups, but when we come together with our stories as an individual. Voices and vision, musical styles, personalities, and our own beliefs, Zy The Way is the fabrication of our collective imagination, where no one is left out.
Review: Emahoy Tsegue-Maryam Guebrou was an Ethiopian nun known for her piano playing and musical compositions. She sang for Haile Selassie though later retreated from the world and lived barefoot n a monastery where she worked on perfecting her blues sound. She became known as the honky tonk nun and levied well into her 90s. This reissue of her self titled album shows off her unique sound which started with her first violin recital at the age of ten and went on to include piano albums being released with all profits going to benefit orphaned children in Ethiopia. What a woman.
Moment's Notice (alternate take 5A (Incomplete)) (4:46)
Lazy Bird (alternate take 2) (7:12)
Review: There are few jazz albums as universally adored and significant as Blue Train. That's no exaggerated remark - it's a record imprinted on 20th Century culture, albeit just one of Coltrane's many incredible works. As part of their continued Tone Poets series, Blue Note are revisiting this landmark and giving it a grand presentation under the banner of The Complete Masters. That means, as well as the official recordings that make up Blue Train, we're also treated to a second disc of additional takes which give you a whole new perspective on these eternal treasures, from a false start of 'Blue Train' to multiple takes on 'Moment's Notice' and 'Lazy Bird'.
Review: Dorothy Ashby went down in time as one of Detroit's longstanding greats; predominantly a jazz harpist, she was one of the first and most successful jazz musicians to use the harp as a lead instrument. The Rubaiyat of Dorothy Ashby is her ninth and penultimate album, released in 1970 through Cadet Records. Its adventurous blend of spiritual and funky jazz draws on various cultures and traditions, but was largely inspired by the words of Omar Khayyam, a 12th-century Persian poet and philosopher. Ashby expands her playing repertoire into the Japanese koto, as well as singing on some tracks, producing a sound describable as nothing less than spiritual - this is further tempered by backing flutes, oboes, vibraphones and kalimbas to boot. This one also coincides with a revived interest in the work of Rafiyq, the spoken word artist heard throughout.
Review: Sun Ra's When Angels Speak of Love, originally released in 1966 on his Saturn label, remains a rare and avant-garde gem. Pressed in extremely limited quantitiesiaround 150 copiesithis record was initially sold via mail order and at live performances. The album, recorded during 1963 sessions at the Choreographer's Workshop in New York, captures Ra's Arkestra at a time of intense experimentation. The rehearsal space's warehouse-like acoustics add an otherworldly texture to the music, further amplified by Tommy Hunter's innovative tape reverb. The album showcases Ra's controlled chaos, rejecting the label of "free jazz" while embracing liberation through structured improvisation. Tracks like 'Next Stop Mars', a sprawling 18-minute epic in its mono version, reveal bold performances from Marshall Allen and John Gilmore, pushing their horns to daring extremes. Ra's own piano workirooted in tonal centers but interspersed with thunderous rumblingicreates a dense, cosmic soundscape. With influences from contemporaries like John Coltrane and Ornette Coleman, When Angels Speak of Love sits comfortably within the avant-garde jazz movement of the 1960s, yet maintains its unique Sun Ra eccentricity. Now reissued on vinyl, this album invites listeners to experience the cosmic, pre-psychedelic atmosphere Ra and his Arkestra crafted over half a century ago.
Review: Talented funk, jazz and soul outfit Bronze, Silver & Brass are back on Finland's finest Timmion Records with a second outing that confirms their top-shelf credentials. This latest high-grade outing opens with 'Renard's Groove which bursts forth and has a speedy, dramatic rhythm driven by tight guitar riffs and breakbeat energy, ll with hints of 1970s cinematic charm. Then comes 'Brass In Motion' which slows the tempo with a smooth, mid-paced jazz-funk groove. It balances its funky vibe with a lyrical, laid-back charm and is another gem from this increasingly essential band.
Review: Mark Millington's debut album showcases the UK saxophonist's dynamic, melody-driven jazz sounds across some well-formed new compositions. Energetic and percussive yet deeply lyrical, five original tracks range from the joyful exuberance of 'Matilda's Dance' to the tender emotion of 'Truth Be Told.' A standout reinterpretation of Becky Hill's 'Overdrive' adds a fresh twist to the mix and throughout this album, Millington is joined by a stellar ensemble including Addison Frei (piano), Jackson Potter (guitar), Yoshi Waki (bass) and Brian Karl (drums), with more guests also featuring and making this a memorable introduction to a promising new voice in jazz.
Review: Lee Morgan's Search For The Land is a soulful exploration of jazz that now gets reissued as part of this classic series son the iconic Blue Note. Released first in 1966, the record showcases Morgan's virtuosity as a trumpeter and composer. With a lineup featuring heavyweights like Wayne Shorter and Herbie Hancock, each track is a journey through intricate melodies and dynamic rhythms. From the exhilarating title track to the introspective 'Melancholee,' Morgan's next level improvisation and emotive phrasing shine throughout. The album's rich textures, buoyant grooves, and evocative solos make it an evergreen gem in the jazz canon and one that captures the essence of Morgan's musical vision with unparalleled depth and allure.
Review: The Liminality of Her is a new ten track album by Amanda Whiting, the acclaimed Welsh harpist and composer. With classical training and a unique sound reminiscent of Ashby and Coltrane, Whiting swiftly earned her place in the UK jazz scene and her journey includes collaborations with Don Leisure and features on projects like 'Shaboo Strikes Back'. Backed by Chip Wickham on flute and PEACH on vocals, this album showcases Whiting's hypnotic jazz fusion compositions, exploring themes of transition and liberation. From the cinematic 'After Dark' to the playful 'Lost in Abstraction', immerse yourself in the liminal soundscape and you won't be left disappointed.
Review: Captured live in 1974, this performance at Carnegie Hall showcases Miles Davis at the height of his electric fusion era, blending jazz with rock in a fierce, exploratory manner. The show features the monumental 'Moja' and 'Wili,' each spread across two parts, with the band improvising freely and building intricate, pulsating rhythms. Davis's trumpet and organ create a swirling, unpredictable sound, while the guitar work from Pete Cosey and Reggie Lucas adds texture and energy. Tracks like 'Tatu' and 'Nne' display Davis's shift towards African-inspired sounds, experimenting with complex rhythms and haunting melodies. This is a tour de force, an unfiltered snapshot of Davis's creative genius.
Review: The music that makes up Harmony of Difference, Kamasi Washington's first EP of note since the release of acclaimed 2015 album The Epic, was premiered live as a "six-track movement" earlier this year. The "suite" - here stretched across both sides of an essential 12" - sees Washington continue to explore the idea of what it means to be black in America in the 21st century. Musically, the EP contains some of his smoothest and most laidback compositions yet, with all his musical collaborators being on fine form. The headline attraction is undoubtedly 14-minute flipside "The Truth", an almost operatic jazz epic full of swelling choral contributions, fizzing drum solos, rising horns and, of course, plenty of Washington's distinctive saxophone.
Review: Over the last 12 months, Adrian Younge and A Tribe Called Quest member Ali Shaheed Muhammad have been inviting some legendary musicians to swing by the former's Los Angeles studio to make fresh tracks with vintage equipment. The results are detailed on "Jazz Is Dead", a superb album that combines elements of dusty soundtrack jazz, soul, jazz-funk, Latin jazz and head-nodding live beats influenced by the duo's hip-hop roots. Highlights include the atmospheric, slow-motion warmth of Roy Ayers collaboration "Hey Lover", the floor-rocking fusion heaviness of epic Azymuth hook-up "Apocaliptico", the languid sweetness of 'Down Deep" (featuring Doug Carn) and the samba-soaked sunshine that is Marcos Valle composition "Nao Saia Da Praca".
Review: Dynamite Cuts lives up to its name with this limited 7" from acclaimed Brazilian jazz singer Tania Maria. Two driving and dancey tracks pressed nice and loud for the first time on 45, "Fio Maravilha" is a busy arrangement made up of wild piano, big raw drums and Maria's impassioned, lung-emptying singing that whizzes along at pace. "Bedeu" has a little more Latin flavour, bossa nova swagger and space in the mix for the soul to shine through. Drop either one and take shelter, cause both of these cuts are bombs.
Review: Over the years, Sam Shepheard's work as Floating Points has become increasingly ambitious, moving further away from his dancefloor roots and closer to spiritual jazz, new age and neo-classical. Even so, it was still a surprise when Shepheard announced Promises, a 46-minute piece in 10 "movements" featuring the London Symphony Orchestra and legendary saxophonist Pharoah Sanders. It's an undeniably remarkable piece all told; a constantly evolving fusion of neo-classical ambience, spiritual jazz and starry, synthesizer-laden soundscapes notable not only for Sanders' sublime sax-playing and Shepheard's memorable melodic themes, but also the intricate, detailed nature of the musical arrangements. It's a stunningly beautiful and life-affirming piece all told, and one that deserves your full attention.
Review: A unique collaboration between Milo Fitzpatrick of Portico Quartet, and Jordan Smart of Mammal Hands, Vega Trails' 'Tremors In The Static' hears these two mega-accomplished musicians bring nine spaced out forays through melodic, solo double bass. Taking their name from the Carl Sagan novel Contact (the Vega system), Influences from Swedish fiddle to Indian Classical are woven into a minimized tapestry of ambient instrumental sounds. Verbed-out folk jazz for your pleasure.
Rickey Calloway & His Tennessee Band - "Do It On The One (Stay In The Pocket)" (3:10)
The Tennessee Band - "Ain't It A Crime" (instrumental) (3:06)
Review: Funk Night cop a couple of fine funk gems here from Rickey Calloway. He is an r&b singer, as well as a rhythm guitar musician and songwriter from Jacksonville, Florida. His Tennessee Band helps him serve up funk that comes direct from the 70s, James Brown style. Both of the singles here are [rimed to fire up the floor, with 'Do It On The One (Stay In The Pocket)' the more direct of the two and the flip side 'Ain't It A Crime' (instrumental) going deeper.
Ferry Ultra - "Why Did You Do It" (feat Ashley Slater - The Reflex Revision - edit) (4:26)
The Traffic - "Beat It" (4:41)
Lettuce - "Checker Wrecker" (feat Big Tony & Jungle Boogie) (5:52)
Joel Culpepper - "WAR" (4:16)
Delvon Lamarr Organ Trio - "Hole In One" (4:37)
PM Warson - "(Don't) Hold Me Down" (3:11)
Review: Who knew an entertainment career spanning the likes of comic sci-fi series like Red Dwarf and kitsch game shows vis-a-vis Robot Wars could result in a side stint curating soul compilations? Well, it's exactly what happened to Craig Charles, who also happens to have been manning BBC6 Music's soul and funk corner for almost 20 years now, not to mention regularly touring the world as a DJ. This isn't his first 'Trunk of Funk'. The first was overwhelmingly well-received by a "funk hungry public", and now, our national treasure Craigy-boy has ensured said public doesn't starve a second time round. Backboned by Charles' introductory yells to imaginary screaming crowds - "are you ready!?" - we cycle through funk bits both old and new, exclusive and widely-available, from Cha Wa to Luther Ingram to Joel Culpepper. Craig says: "Give your ears and feet enough mellifluous musical fodder to last you until Volume 3 - Awooga!"
Review: The search for The Quest is finally over. This rare album, a true first pressing with the Abbey ring and deep grooves, is now on the shelf and sounding fantastic. It ranks among the top jazz albums, alongside Basra and Far Cry. The Quest is a stunning showcase of soul, musicianship, and composition, with all tunes penned by Mal Waldron, who is a master of sparse, dark, delicate beauty on the piano. Featuring Eric Dolphy on alto and clarinet, Booker Ervin on tenor, Ron Carter on cello, Joe Benjamin on double bass, and Charlie Persip on drums, the ensemble is top-notch. Standout tracks include the mellow and reflective 'Warm Canto' and the energetic 'Status Seeking,' Every tune is unique, making it an album worth revisiting. This reissue rightly restores leadership to Waldron, and with the support of Benjamin and Persip, the complex music, bridging hard bop and avant-garde, is beautifully interpreted. Highly recommended.
Review: It was 10 years into his career that Horace Silver made this album - the one that many regard as one of his very best - at the famous Van Gelder Studio with Blue Mitchell, Junior Cook, Gene Taylor, and Roy Brooks. It captured his quintet's transition and came a year ahed of another recording session that gave rise to his definitive hit, 'Song For My Father', which is also included as a tribute to his father, who was of Cape Verdean heritage. This Blue Note Classic Vinyl Edition is an all analogue affair that has been remastered by Kevin Gray from the original master tapes, so sounds superb.
Review: Ethio Jazz is a landmark album by contemporary Ethiopian music pioneer Mulatu Astatke from back in 1974 on Ethiopia's Amha Records. It features melancholic wind melodies and a polyrhythmic rhythm section that soon draws you in while sultry vibraphone and smoky organ tones blend the essence of American jazz with Ethiopian musical traditions. This unique fusion creates a sound that remains a high point in Astatke's career and the Ethio Jazz genre overall. It's a faultless demonstration of Mulatu's ambitious creativity and one that masterfully balances diverse musical elements. For that reason, this timeless album continues to resonate in the jazz world and beyond.
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.
Harold Mckinney - "Ode To Africa" (single version) (3:47)
Wendell Harrison - "The Wok" (6:40)
Review: The legendary DJ Muro is behind this superb new P-Vine compilation, Diggin Groove Diggers: Best Of Tribe. Muro is a truly a-grade digger and one of his homeland of Japan's most famous. Here he collates together some of his favourite songs from Tribe, a rather legendary spiritual jazz collective from the Motor City. This music has been revered for more than 50 years and now for the first time gets put together on one album that is both a perfect primer for newbies and a great collection for those long-time fans.
Review: Here's a cut which might well break out some misty-eyed reminiscence for those who were locked into the UK's rare groove and jazzdance scenes in the late 80s. Cheryl Glasgow's career was brief, but she gifted us two wonderful singles, and it's the second of those Numero have opted to reissue right here. 'Glued To The Spot' has that humid, rhythmic quality which would have gone down a storm with the Balearic set, not least with the attendant club and instrumental mixes on the original 12", but for our money it's Glasgow's understated voice, which lands somewhere between Shara Nelson and Sade, which gives the track its magic.
Review: It was when Makaya McCraven linked up with International Anthem around 2015 he became an artist transcending the jazz scene's tangle of singers and players. Since then he's evolved his craft from album to album, project to project, reaching this undeniable achievement of a record that places him at the forefront of modern jazz. Nearly seven years in the making, In These Times is the product of McCraven's striving to create a personal stamp, leaning in on his own rhythmic language of time-signature trickery and unusual arrangements, steering large-scale orchestral ensembles and elevating his craft in every way he can. For all the considered science behind the sound, it lands as an incredible natural experience full of cascading drums, ascendant flutes, lilting strings and a whole cornucopia of talented musicians playing to a striking creative vision.
Review: Much celebrated new school jazz crew Ezra Collective finally unveil their highly anticipated new album Where I'm Meant To Be after a big summer single 'Victory Dance' got us all excited. This record is a life-affirming romp with their famous hybrid sound tasing in all manner of different styles, eras and scenes. Some high-profile features from Sampa The Great, Kojey Radical, Emile Sande and Nao bring extra goodness to this record which is certainly a product of the current London scene but also owes a debt to the sounds of southern Africa. It all adds up to a real doozy.
Review: Dynamite Cuts has got a couple of Roy Ayers Ubiquity projects in the fire this month - a brilliant 7" double pack as well as this 45rpm. Both sides of this one rather take quite different paths to your affections. 'A Tear To A Smile' is high-speed and complex funk for the dance floor with loopy rhythms and Roy's mad vibes playing over the top next to some neat bass work. Flip it over and you'll find the much more deep and laid-back 'Time & Space' with its lavish cosmic keys and jazz vocals all working you into a star-gazing lather.
Review: Original Gravity, Luchito Rodriguez and Nestor Alvarez return with yet two more Latin groove versions of funk and soul classics, emulating two sounds not yet brought together enough. 'Dap Walk' is a shot-by-shot cover of the song of the same name by Ernie And The Top Notes - a slick and slippery interpretation that translates the original AAVE of the song's intro into Spanish. 'El Barrio', meanwhile, opts for 70s crime thriller vibes, instrumentally verging on expressionism via djembe, brass sections and vibraslaps.
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