Back catalogue: Funk Soul & Jazz

Review: Born in Kent and central to the UK's 70s jazz modernism, Neil Ardley composed with the precision of a scientist and the vision of a cosmic philosopher. This long-overdue reissue from Analogue October captures a project that translates planetary orbits into a nine-note harmonic systemitoo vast for acoustic instruments, brought to life instead through early synthesisers. 'Arcturus' and 'Spiral Nebula' interlace fluid sax work from Barbara Thompson with John Martyn's signature reverb-drenched guitar, while Geoff Castle's synths evoke deep-space drift. 'Rainbow Four' channels modal funk, and 'Neptune' floats into ambient abstraction. Produced at Morgan Studios with a full ensemble of jazz heavyweightsiTony Coe, Ian Carr, Billy Kristian, Richard Burgess, and Trevor Tomkinsithis is a record that swings between science fiction and symphonic elegance. For all its high concept, it remains rooted in groove and human touch. A meticulous AAA cut from the Decca master tapes seals the experience: a bold and beautiful reminder of how far British jazz once dared to travel.

Review: ***B-STOCK: Slight surface mark on the record sleeve***


April 10, 1970. Miles Davis, fresh from his Jack Johnson sessions and with a new face in the band, soprano saxophonist Steve Grossman, take the stage at San Francisco's Fillmore West and set about sparking a revolution in jazz by fusing it with rock and funk elements. Captured on Black Beauty: Miles Davis at Fillmore West, this performance is one for the agesifull of explosive improvisation, raw energy and a palpable sense of transformation. The album, finally reissued on vinyl after years of being locked away in Japan, is a time capsule of a moment in jazz history where tradition was discarded and a new frontier was being built. With his usual crewiGrossman, Chick Corea on keys, Dave Holland on bass, Jack DeJohnette on drums, and Airto Moreira on percussioniDavis steered the ship into turbulent, unpredictable waters. It's all about the groove, the shifts in rhythm, and the untamed trumpet blasts that echo through the room like firecrackers. Tracks like 'Miles Runs the Voodoo Down' - from the milestone Bitches Brew album, which had come out a mere month before - and 'It's About That Time' tear apart the old jazz playbook, plunging deep into rock territory while still holding on to the open-ended freedom of improvisation. This is the raw, unfiltered jazz that would come to define the electric period of Davis' caree - a live-wire snapshot of a jazz legend finding new possibilities in real-time.

Review: A reissue on nice double vinyl for the sixth album from 'sophisti-pop' pioneer Jackson, fusing jazz, funk and soul elements with a post-punk spikiness and a very British outlook, pointing the way forward for the likes of the Style Council and a host of other 80s acts. It first surfaced in 1984 and although it's the first digitally recorded album he made, it's typified sonically by Jackson and producer David Kershenbaum's move to reject the sterile, dead acoustics of modern studios in favour of the Manhattan Masonic Hall, previously mainly used for classicx recording. The jazzy solos, sparkly sax and snazzy chorus of 'You Can't Get What You Want (Till You Know What You Want)' - with just a hint of Afrobeat groove to it too - are probably best known here, but all nine songs number among the Staffordshire-born musician's smartest output.

Review: Vick Lavander is a name that has always been a byword for deep house quality. His sound is couched in a classic template but comes with subtle tweaks and plenty of its own musical character. BEYOND is a bumper collection of beats which proves just that. There are silky and cosmically minded sounds like 'Time & Time Again' next to subtly jazzy dancers like 'Sunset BLVD' and dubby, elegant grooves like the life-affirming 'Grace'. The pace picks up with joints like 'Knights' but never at the expense of atmosphere and slows right down with swab-tinged downbeat delights like 'Good Timing'. A magnificently rich work.

Review: This Price album was originally part of the 2023 Diamonds and Pearls Super Deluxe box set, but now the triple vinyl live recording arrives on standalone yellow vinyl in a fancy triple gatefold sleeve. It was initially captured on January 11, 1992, at Prince's Glam Slam club in Minneapolis and is a performance that showcases Prince and The New Power Generation at their creative peak, just ahead of their epic world tour. Spanning over 100 minutes and 14 tracks in all, the still electrifying set focuses on material from the Diamonds and Pearls era and includes a preview of the then-unreleased 'Sexy M.F.' to make for a fine snapshot of a new era in Prince's evolving sound.

Review: A stunning fusion of rock, Latin rhythms and jazz, this 1977 album blended live performances with studio recordings to create a dynamic, immersive experience. Now reissued on vinyl, the double album - which features live and studio recordings - captures the raw energy of Santana's stage presence while showcasing Carlos and co's refined musicianship. The album's biggest hit, 'She's Not There', reinterprets The Zombies' classic with soaring guitar work and Latin percussion, turning it into a mesmerising jam. 'Flor d'Luna (Moonflower)' is a beautiful instrumental piece, filled with Carlos Santana's signature, expressive guitar melodies. 'Dawn / Go Within' opens the album with a mystical, jazz-tinged atmosphere that blends the spiritual with a musical exploration throughout the album. Live recordings such as 'Soul Sacrifice / Head, Hands & Feet (Drum Solo)' bring the band's electrifying energy to the forefront, while 'Black Magic Woman / Gypsy Queen' revisits their earlier hit with even more intensity. 'Europa (Earth's Cry, Heaven's Smile)' is another gem, a slow-burning instrumental that highlights Santana's unmatched ability to blend emotion and technical prowess. Moonflower was a commercial and critical success, reinforcing Santana's status as innovators in rock and Latin music, and even now, it's pretty obvious why.