Review: Since he released his first album 11 years ago, bandleader, trumpeter and composer Matthew Halsall has proved to be one of British jazz's standout talents. In recent years he's delved into soul-jazz and big band jazz territory, so it's intriguing to find that "Oneness" is a much more spiritual, pared-down and minimalistic affair. Using a mixture of droning Indian instrumentation, languid and leisurely harp motifs, selective horn solos, melancholic trumpet lines and occasional traditional jazz instrumentation, Halsall has conjured up a series of meditative pieces that count among his most beguiling works to date. It may surprise a few listeners, but many more will find it enchanting, otherworldly and emotion-rich.
Review: Joe Armon-Jones has been a driving force in the resurgence of contemporary jazz and now makes something of a victory lap with this new album on the always essential Brownswood. It's a very modern mix of bass and dub, du jour club culture and his own jazz styles featuring peers like Moses Boyd and Nubya Garcia. Frankly, the whole record is silky, starry-eyed and sublime and the excellent artwork also hist at the cosmic subtleties of this album, but our picks of the bunch are the neo-soul, summery stroll through the park vibes of "Yellow Dandelion", "Gnawa Sweet" which glows with mellifluous Rhodes chords and the uncompromising yet accessible sax and big brass action of album highlight "You Didn't Care".
Review: Ahmad Jamal track been sampled and reworked by Hip Hop greats
Primo - Gang Starr Solilquay of Chaos to Black Moon -Black Smif-mWessun- Pete Rock flipped on Something Funky release.
Richard Evans bass player and arranger blazes Jazz Funk intro, really sets it off from Original Foster Sylvers version very hot tune !!!
You're Gonna Need ME Dionne Warwick
1973 Monster of Pysch Soul tune
Written by Holland - Dozier- Holland Studios arranged by Mckinley Jackson you can hear that RAW DETROIT FUZZ FUNK Sound.
Dilla aka Jay Dee brought to the light of day after he flipped it on his Famous Donuts album (STOP) back in 2006 Well that history we already know!
Wu-Tang's Clap from THE W album (2000) as bonus track!
Tonis Magi & Music Seif - "Sa Haara Kinni Mu Kaest" (3:30)
Els Himma - "Keskoo" (2:44)
Valter Ojakaar - "Rasked Veosed" (4:05)
Uno Naissoo - "Marss Eksprompt" (2:49)
Gunnar Graps & Magnetic Band - "Leidmine" (3:17)
Eesti TV & Raadio Estraadiorkester - "Keskoosamba" (instrumental) (4:10)
Tarmo & Toomos Urb - "Valgud Peeglis" (feat Vanemode - short version) (4:59)
Eesti Raadio Estraadiorkester - "Malestuste Teel" (instrumental) (5:41)
Review: Several years deep into their quest to amplify their homeland's rich funk talent, Eastern European collective Estonian Funk Embassy level up with this exceptional compendium of tracks written and recording during Estonia's time under Soviet control. The first time most of these records have been released and distributed beyond domestic release, it's a total treasure trove of grooves ranging from upbeat, big band-led swing ("Keskoosamba"), thigh-slapping horn-heavy funk ("Rasked Veosed"), smokier, lounge-lapping jazzier influences ("Naed Vaid Oma Silmi"), sleazy disco funk ("Sa Haara Kinni Mu Kaest" and many shades in between. Capturing Estonia's musical legacy in all directions, this is a genuinely unique record.
Review: Wow, classics don't come much more special than this. A like-for-like repress of the 1970 RCA release, both sides here are soaked in Scott Heron's raw troubled soul. The endlessly sampled, hugely powerful and perfectly funky "Revolution" remains almost as poignant and prophetic as it was the day it was penned. "Home Is Where The Hatred Is" is much more personal and reveals his talent as a singer as much as the lead track boasts his poetry and ability to deliver a strong message.
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.
Terumasa Hino Meets Reggie Workman - "Ode To Workman" (15:20)
Review: BBE latest "deep dive" into a widely underappreciated style focuses on a particularly fertile period in the history of Japan's "contemporary jazz" scene. Curated by renowned Japanese jazz diggers Tony Higgins and Mike Peden, J-Jazz focuses on material recorded and released between 1969 and '84, a period the label says represents a "golden age" for jazz in Japan. The compilation is both a serious history lesson and hugely enjoyable to listen to, featuring a mixture of U.S-influenced jazz-funk, fusion, post-modal and deep, spiritual improvisations. Naturally, all of the material has never been released outside of Japan before, with the vast majority of tracks being either ludicrously rare or sought-after. Simply essential, all told.
Review: Tennessee's legendary jazz pianist, Harold Mabern, is surely one of the kings of the mighty Prestige label, and his material helped bridge the gap between jazz and funk back in the 1970s, alongside the likes of Idris Muhammad, The Jimmy Castor Bunch and all those geniuses. "I Want You Back" is a stone-cold classic and contains one of the most hummable trumpet lines ever, and if you hear closely it's been reworked and sampled by none other than the King of pop when he was only a little one. Funk Inc's sublime "Sister Janie" resides on the flip, a more lo-fi funk bullett for the diggers, and complete with a dusty organ!
Review: Far Out takes a second deep dive into the previously unheard early demos of Brazilian jazz-funk greats Azymuth, offering up more unpolished gems recorded during the years as one of Brazil's most sought-after session bands. Interestingly, much of the material is closer in tone and style to their subsequent releases, though some of the rhythms, solos and basslines are arguably a little wilder and more experimental. Highlights include the fizzing opener "Duro De Roer", the sweaty and percussive brilliance of "Bateria Do Mamao", the Blaxploitation influenced spy-chase madness of "Quem Tem Medo" and the surprisingly smooth "Manha", the demo that eventually earned Azymuth a recording contract.
Review: Jazz-man Greg Foat has always been more open-minded and eclectic than many give him credit for, delivering nods to pastoral folk, movie soundtracks and library music amongst his more jazz-focused output. Even so, "Photosynthesis" is still a curveball, featuring as it does drowsy and mostly leisurely soundscapes that move from Radiophonic Workshop influenced weird-outs and mutant lounge music, to stoned horizontal grooves and post trip-hop soundscapes. Interestingly, some of the album's standout moments come laden with woozy electric pianos and the kind of hazy, slow motion guitar motifs that evoke mental images of long, drawn-out sunsets.
Elegiac Suite For Elizabeth: Time/The Mighty River/The Wind
Striped Pants (with Cadenza)
Review: Soul Jazz have carefully and considerably been focusing on resizing some of Lloyd McNeil's most majestic work and now they turn to Elegia. It was originally released in 1980, but was a private dress that has been out of print for 40 years. It is a gorgeous record of elegant flute, that takes in a tropical mix of Brazilian and Latin influences, humid and jungle-like percussive sounds and plenty of jazz spiritualism. Elements of Claude Debussy, John Coltrane and Nina Simone all feature and make this a vital addition to anyone's collection.
Review: The latest volume in BBE's J Jazz Masterclass series is something of a stone-cold classic: then young Japanese pianist Makoto Terashita's 1983 album-length collaboration with legendary tenor saxophonist Harold Land. Somewhat surprisingly, this is the first time that the sought-after set has been reissued since, making it something of a must-have for serious jazz fans. Both players are clearly audible throughout the LP, with the accompanying bassist and drummer generally kept low in the mix. It's an approach that pays dividends from start to finish, with highlights including the poignant and picturesque "Dear Friends", the epic dancefloor flex of "Dragon Dance" and the raucous, high-octane thrills of "Crossing".