Back catalogue: All genres

Review: Brother Jack McDuff's Moon Rappin is a bold exploration of funky and spacey soundscapes, marking a departure from his usual soul-jazz style. While the album may not adhere to traditional jazz norms, its fusion of funk rhythms with jazz improvisation showcases McDuff's versatility and willingness to experiment. Tracks like 'Flat Backin' and the title track blend jazz flutters over a funk foundation, creating a dynamic and engaging listening experience. With its heavy wah guitar and top-notch drumming, the album successfully bridges the gap between jazz and funk, offering a glimpse into the progressive musical trajectories of the era. In hindsight, Moon Rappin emerges as an unintentional precursor to the funk and jam music that would follow, with its spacey soundscapes hinting at the psychedelic funk to come. McDuff's adventurous spirit and willingness to push boundaries make Moon Rappin a noteworthy and influential record that deserves recognition for its role in shaping the musical landscape of its time.

Review: By the time Kenny Burrell took the stage at the Five Spot Cafe in August 1959, he had already 90-degree head-turned his best jazz fellow travellers with a glissando of Blue Note LPs. But this gig, his first live date as a leader, brought a new kind of magic. Contracting Art Blakey, Tina Brooks, Roland Hanna, Bobby Timmons, and Ben Tucker on band duties, Burrell confidently executed a suite of hard bop soaked in sweat, swing, and soul. This 3xLP brings that steamy summer evening back to life in full analogue detail; housed in a tip-on trifold jacket with an accompanying booklet of rare Francis Wolff photos, an essay by Syd Schwartz, and new reflections from Burrell himself, it's a vivid snapshot of a moment when everything clicked.

Review: Meshell Ndegeocello's second Blue Note album, No More Water: The Gospel of James Baldwin, pays tribute to the esteemed writer and activist James Baldwin. This transformative, genre-blending work serves as a musical experience, church service, celebration, testimonial, and call to action. Set for release on Baldwin's Centennial, August 2, 2024, the album is co-produced by Ndegeocello and guitarist Chris Bruce. It features frequent collaborators Justin Hicks, Kenita Miller, Abe Rounds, Jake Sherman, Jebin Bruni, and Julius Rodriguez, along with powerful spoken word performances by Jamaican poet and activist Staceyann Chin.

Review: Celebration, Volume 1 marks the beginning of a series of archival treasures curated by the iconic saxophonist Wayne Shorter before his passing in 2023. This electrifying 2014 live recording captures Shorter's renowned quartetifeaturing pianist Danilo Perez, bassist John Patitucci, and drummer Brian Bladeiat the Stockholm Jazz Festival. The set includes dynamic interpretations of 'Zero Gravity,' 'Smilin' Through,' 'Orbits,' 'Lotus,' and 'She Moves Through The Fair,' each showcasing the group's fearless improvisation. Carolina Shorter's liner notes reveal the deep personal connection Wayne had with this project. As he meticulously sifted through unreleased recordings, the Stockholm performance stood out out to him strongly Originally envisioned as Unidentified Flying Objects to reflect the otherworldly nature of the music, the collection was later renamed Celebration as Wayne embraced the urgency of honouring life's vibrancy.

Review: Wayne Shorter's Juju, released in 1966, remains a quintessential work of modern jazz that now gets reissued on CD via Universal Japan. The groundbreaking work showcases Shorter's exceptional compositional prowess and innovative approach to jazz with a stellar lineup including pianist McCoy Tyner, bassist Cecil McBee, drummer Elvin Jones, and legendary saxophonist Shorter himself. It's packed with a seamless blend of intricate melodies and dynamic rhythms and tracks like 'House of Jade' and 'Yes or No' highlight Shorter's masterful use of modal jazz to create a soundscape that's both complex and deeply engaging. The album's blend of subtle harmonies and powerful improvisations solidifies its status as a timeless classic.

Review: The first Blue Note Re:imagined album was frankly brilliant - an imaginative, inspired and thoroughly brilliant set of covers of classic cuts from the label's catalogue, expertly realised by a cast of 21st century UK jazz and soul talents - so hopes are naturally high for this sequel. We shouldn't have worried, to be honest, because it's another terrific collection. Our picks of a very strong bunch include Swindle's orchestra-sporting, jazz-funk-goes-hip-hop-soul take on Donald Byrd's 'Miss Kane', Ego Ella May's gently dubby, head-nodding and sunrise-ready re-imagining of Chico Hamilton's 'The Morning Side of Love', an ultra-dreamy, pedal steel-sporting cover of 'Harvest Moon' courtesy of Maya Delilah, and a tactile neo-soul interpretation of Marlena Shaw classic 'Feel Like Making Love' by Kay Young. Impeccable.

Review: The most famous label in jazz celebrates a monumental 85 years in action. How else to do that than with an all star cast of giants of the genre, captured at the top of their game? Miles Davis, Theolonious Monk, John Coltrane - they don't come much more legendary than this, and this 2xCD is a comprehensive catalogue of brilliance, with the label's latter years also represented via Norah Jones and a host of others. High Spirits indeed.