Review: Haze, an Exeter band that in 1981 endlessly toured the South West of England and released the album "SILVERTOPS REFLECTS HAZE" upon which many contemporary tracks were given the Haze treatment from Barry Manilow's 'I Can't Smile Without You' to Johnny Cash's 'Ghost Riders in the Sky'. In the mix Azymuth's Latin funk anthem 'Jazz Carnival' and Space's legendary electronic 'Magic Fly' surfaced, the latter two of which make up this exceptional 7" release by Panorama records, this relatively new label that celebrates idiosyncratic rarities. Haze seem to like breaking down the original and making space between the beats and yet on this A side an already pumping track pumps faster with an extra electronic edge on the Moog-ish organ, whilst paradoxically Haze's lead guitarist takes on Jose Roberto Bertrami's originally syncopated keys in a more regulated way - not a bad thing if not a jazz dancer but someone who just loves to dance! Intelligently, Panorama have coupled this with Haze's percussion heavy version of 'Magic Fly' on the B side, that even if it remains more so electronic, even poppy, it nicely compliments the Brazilian homage of side A. If you love a rare version, 7" 45s and early 80s jazz funk with a synthesised edge you'll love this.
Review: Seun Kuti has released his highly anticipated album Heavier Yet (Lays The Crownless Head) via Record Kicks to great excitement. This album, executive produced by Lenny Kravitz and featuring Fela Kuti's original engineer Sodi Marciszewer, marks a significant milestone in Kuti's career. Following his Grammy-nominated album Black Times, this release showcases his evolution as both an artist and activist. The album features six powerful tracks, each embodying themes of resistance, resilience, and revolution. The track 'Dey,' featuring Damian Marley, emphasises self-empowerment, while 'Emi Aluta' pays homage to revolutionaries, featuring the innovative Sampa The Great. 'T.O.P.' critiques societal values, promoting empathy and a connection to nature. 'Love and Revolution' highlights Kuti's belief in love as a catalyst for change. Kuti expressed gratitude for Kravitz's brotherly support and Sodi's guidance during the production process. He continues to uphold the legacy of his father, Fela Kuti, using his music to inspire social change. This album promises to redefine contemporary Afrobeat while staying true to its roots. Fans can expect an album that entertains, inspires and ignites activism.
Review: The University Of California Santa Cruz Chamber Singers is a group from the 70s headed up by Bob Masters that released two cult albums A Birthday Celebration and Voices. Their lush, lavish, soul-enriching sound is a harmonious balm that here on the newly reissued 'Children Of Bahia' gets paired with some Latin-tinged jazz sounds, shuffling samba rhythms, busy Rhodes keys work and plenty of organic percussive layers thanks to Randy Masters and Solar Plexus. 'Torremolinos (Windmills)' is an equally spiritual sound with more prominent flutes and dancing piano chords all energising every fibre of your being.
Review: Galaxy Sound Company's latest test pressing release features James Brown's 'Give It Up Or Turnit A Loose (Edit)' alongside Hampton Hughes' 'Web (Edit)' and is another doozy for edit lovers old and new. Side A of this 44th instalment offers a masterful breakbeat edit from JB's 'In The Jungle Groove' that brings forth the rhythm of Clyde Stubblefield and Bootsy Collins so is perfect for igniting a party. On the flipside, the jazzy grooves of Hughes' 'Web' which has been famously sampled by Hieroglyphics in 'Off the Record' is another floor filler while bonus beats from the A-side round out this essential double.
Review: German sextet "SOUND" recorded a standout set in Frankfurt in 1978, immortalised on the LP "Jazzlife" at Night (Vol.1). Singled out was their composition 'Sound Spirit,' a dancey, post-bop jazz track where Volker Burkhardt's tenorsax soulfully wails in a Coltrane fashion over Werner Bauer' syncopated keys and Heli Kneipp's and Athur Greaves' driving percussion and drumming, intertwined with Jann Meyer's funky bass. All culminate in this super groovy contrapuntal track that often takes you nicely by surprise. Now this seminal piece arrives in a limited edition 7" of 300 on Tramp Records, the small but significant home of some of Germany's best reissued funk, soul and jazz on vinyl. Nat Adderly's 'Sweet Emma' was one of "SOUND's" other distinctive tracks that night, and it too resurfaces on the B side. This upbeat version may teeter on a 'trad' jazz precipice, but as the saxophone takes the cornet parts of the original, its tonality draws the listener in. These tracks already command attention from the discerning contemporary jazz community, and now again available is a must for those who like both upbeat or downtempo late 70s jazz.
Review: Osaka-based jazz-funk band Wa Yo Set is dropping this new 7" single as a way of offering fans a sneak peek of another new album project they have coming up this year. The A-side features a jazzy, acoustic, and danceable instrumental cover of MISIA's 'Tsutsumikomu Youni,' which has been skilfully reimagined in the band's signature style. On the B-side, the original track 'R308' delivers a breezy summer vibe and closes out a tasty release that showcases the band's ever-evolving sound. It has more than got us interested in hearing the full length that is soon to come.
Review: Pops Mohamed's Black Disco reissues from Afrodelic offer a rare glimpse into mid-1970s South African jazz fusion. The 1975 self-titled debut features Mohamed's cosmic organ, complemented by sax and flute maestro Basil Coetzee and bassist Sipho Gumede. Their interplay creates a blissful downtempo experience, highlighted by the innovative use of a drum machine and deeply immersive improvisation. The album's tranquil vibe and cosmic soundscapes showcase Mohamed's unique approach to chill-out jazz with spiritual undertones. The 1976 follow-up, Black Disco 3, continues this journey, with Peter Odendaal and Monty Weber adding to the ensemble. The album evolves the New Age lounge aesthetic into more adventurous jazz territory. "Spiritual Feeling" is reimagined as 'Spiritual Feeling Riding the Blue,' and the centerpiece, 'Dawn,' is a ten-minute, flute-driven exploration that underscores the band's evolving sound. Both albums are reissued internationally for the first time, meticulously sourced from the original analogue tapes, preserving the rich textures and innovative spirit of Mohamed's groundbreaking work.
Review: The reissue of Booker Little 4 & Max Roach as part of the Tone Poet Vinyl Series is an exciting announcement for jazz fans. Booker Little, a brilliant trumpeter whose life was tragically cut short at 23, left an indelible mark on the jazz world. This 1958 album, recorded when Little was just 20, showcases his extraordinary talent both as a musician and composer. The LP features the dynamic interplay between Little and Max Roach, one of jazz's most influential drummers, along with George Coleman on tenor sax, Tommy Flanagan on piano and Art Davis on bass. It opens with a spirited rendition of Miles Davis' 'Milestones', setting the tone for the session, before the standards 'Sweet and Lovely' and 'Moonlight Becomes You' are given fresh interpretations. But the heart of the album lies in Little's original compositions: 'Rounder's Mood,' 'Dungeon Waltz,' and 'Jewel's Tempo.' These tracks highlight his inventive melodic sense and technical strength. The Tone Poet Series ensures an audiophile-quality experience, with meticulous mastering by Kevin Gray and a deluxe presentation that lives up to the highest standards.
Review: Donald Byrd's Kofi, part of the esteemed Tone Poet Vinyl Series, presents a compelling snapshot of the trumpeter's transition from hard bop to fusion. Recorded in December 1969 and December 1970 but only released in 1995, this LP captures Byrd at a pivotal moment in his career, straddling the line between traditional jazz and the emerging fusion genre. The 1969 session features Byrd's originals 'Kofi' and 'Fufu,' with Duke Pearson's electric piano adding a shimmering layer to the complex arrangements. The ensemble includes notable musicians such as Lew Tabackin on flute and tenor saxophone, Frank Foster on tenor saxophone, William Campbell on trombone, Ron Carter on acoustic bass among other strong musicians. The 1970 session continues this exploration with tracks like 'Perpetual Love' and 'Elmina,' featuring Wally Richardson on guitar and Mickey Roker on drums, along with Moreira and Dom Um Romao adding percussion. This reissue, curated by Joe Harley and mastered by Kevin Gray from the original analog tapes, is pressed on 180g vinyl and housed in a deluxe tip-on jacket. The Tone Poet Series ensures exceptional quality in both sound and presentation, offering a definitive version of Byrd's adventurous work.
Review: Together Again!!!! reunites trumpeter Howard McGhee and saxophonist Teddy Edwards in a jazz collaboration originally released in 1961 that is as energised and electric as the title with all its many exclamation marks. This reissue is part of the Acoustic Sounds Series and showcases the exceptional talents of McGhee and Edwards alongside Phineas Newborn Jr. on piano, Ray Brown on bass, and Ed Thigpen on drums. It has been cut from the original master tapes by Bernie Grundman so the AAA lacquers enhance the album's rich sound. It's a mini-classic of the jazz world and it never sounded better.
Review: Matthew Halsall is one of a few key UK artists who helped make jazz cool again over the last decade. His magnificent trumpet skills and ability to tap into plenty of orchestral talent has resulted in plenty of vital albums on his Gondwana label and one of the best, if you ask us, is When The World Was One. It's a spiritual and joyous mix of contemporary and classic styles in the view of your Alice Coltrane types and now gets reissued across double vinyl. Whether it's soaring brass, heart-melting piano playing, soaring crescendos or more quiet and intimate moments you seek, this an essential jazz album whether you're a wisened old cat or a younger newcomer.
Review: Fat Albert Rotunda represents one of Herbie Hancock's earliest forays into jazz-funk and is centred around the music he composed for the Fat Albert cartoon show. Released between his landmark album Maiden Voyage in 1965 and the classic Head Hunters from 1973, it stands out in Hancock's catalogue - despite said catalogue being so packed with gems. The album features funky tracks like 'Fat Mama' and jazz-oriented tunes such as 'Tell Me A Bedtime Story', wih Hancock supported by a stellar sextet including Joe Henderson on tenor sax, Johnny Coles on trumpet and Buster Williams on bass. Although Hancock's work spans various developments in jazz, funk, and r&b, he always maintained a unique voice, and this is a great example of it at its most distinctive.
Review: Seun Kuti is set to release his highly anticipated album Heavier Yet (Lays The Crownless Head) with Executive produced by Lenny Kravitz and Fela Kuti's original engineer Sodi Marciszewer, promises to redefine contemporary afrobeat while honoring its roots. The album features six powerful tracks, including collaborations with Damian Marley on 'Dey' and Sampa The Great on 'Emi Aluta.' Each song embodies themes of resistance, resilience, and revolution, addressing societal issues and personal struggles. Seun Kuti describes the project as special, highlighting the support and guidance from Kravitz and Sodi. This album not only showcases Seun's growth as an artist but also his unwavering commitment to social change and empowerment. Heavier Yet (Lays The Crownless Head) is poised to entertain, inspire and ignite a spirit of activism and liberation.
Review: Finnish duo Lampen, consisting of guitarist Kalle Kalima and percussionist/sampler Tatu Ronkko, returns with their second album Halogen, out on We Jazz Records. Straddling the line between Helsinki and Berlin, their sound evokes the meditative expansiveness of acts like Earth and The Necks, yet firmly occupies its own unique territory. Lampen's music is a deep exploration of contemporary jazz, unconstrained by genre, unfolding slowly with a subtle yet undeniable intensity. The duo's compositions build gradually, revealing their power in unexpected, logical eruptions of sound. Their new track, 'Soleil du Sud 2', hints at what the full album offersione of this year's standout releases in Eurojazz. Kalima's guitar work often draws comparisons to Bill Frisell, though his approach can be bolder and more audacious at times, as demonstrated on the album's title track. Yet, moments like 'Buttons' bring Kalima back into more introspective, Frisell-like territory. With Halogen, Lampen continues to expand their sonic palette, blending jazz with elements of electronica and blues-rock. Their organic, free-flowing approach ensures a deeply impactful listening experience.
The Last Of The Past (with The Jazz Inspiration Orchestra) (6:17)
Berlin (with The Jazz Inspiration Orchestra) (6:40)
Solstice Celebrations (with The Crew) (4:33)
Blue Cha Cha Cha (4:17)
Spring Feelings (3:17)
Relaxing Walk (with The Jazz Inspiration Orchestra) (7:08)
Brother WH (with The Crew) (4:59)
Review: Frederic Rabold's career, spanning over six decades, is celebrated in this deluxe double gatefold vinyl LP, which captures the essence of his significant contributions to modern jazz. Born in Paris in 1944, Rabold transitioned from violin to trumpet, influenced early on by his jazz musician father and the vibrant French jazz scene. His formative years included playing alongside his father and later establishing his own band, the Frederic Rabold Crew, in 1968. The Crew gained prominence within the German jazz landscape, leading to performances at major festivals and extensive tours through Eastern Europe. This collection features key tracks from Rabold's extensive discography, including rare recordings and previously unseen photographs. Notable highlights include 'Noon in Tunisia' and the 1970s album 'Flair.' Throughout his career, Rabold collaborated with jazz luminaries like Gunter Hampel and Lester Bowie, reflecting his versatility and deep-rooted passion for modern jazz.
Review: Dawn Richard and Spencer Zahn reunite for new album Quiet in a World Full of Noise, which is driven by their shared curiosity and desire to defy genre conventions. Following their 2022 collaboration Pigments, this new work together blends atmospheric, orchestral soundscapes with soulful jazz and intimate, confessional vocals and the result is a raw and exposed performance from Richard who delivers stark lyricism that feels both personal and profound. The album redefines the worlds of progressive, avant-garde r&b and jazz with an ethereal yet grounded approach, heavenly melodies and plenty of wide open space in which to luxuriate. By merging the familiar with the unexpected, this fine pair create a sound that makes a lasting impression.
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