Back catalogue: Jazz

Review: Dutch-born American jazz pianist and composer Gerald Clayton is back with a sixth album, his second on Blue Note. Ones & Twos is another exploration of jazz, hip-hop, neo-soul and raw improvisation that is all rooted in a deep conceptual framework. Featuring standout collaborators like Joel Ross, Elena Pinderhughes, Kendrick Scott and Kassa Overall, the album moves effortlessly from groove to abstraction and is inspired by turntablism, which is why Clayton created two sets of tracks that can play individually or simultaneously, blurring the line between harmony and dissonance. As rich as the sonics are, there is also real philosophical intent here, making it both a visceral and cerebral listen with layered commentary on collaboration, coexistence and creativity.

Review: Chicago rock band Wilco's guitarist - a highly prolific jazz maestro in his own right - brings us his latest full length album. A hypnotic groove anchors the lead single, propelling a hard-driving yet fluid interplay between guitar and saxophone. The composition brims with urgency, each phrase unfolding with elegant harmonic tension and a deep jazz sensibility. The quartet's chemistry is undeniable, balancing structured intensity with moments of free-flowing improvisation. Echoes of classic Blue Note recordings by Andrew Hill and Eric Dolphy surface in the phrasing, while the interplay recalls the front-line dynamism of Joe Lovano and John Scofield's collaborations. Yet, the sound remains singular, shaped by a deep appreciation for Brooklyn's improvised music scene. Across the album, the group explores a vast emotional and textural rangeiat times bracing and kinetic, elsewhere delicate and atmospheric. The rhythm section locks into compelling grooves, allowing melodies to breathe and evolve organically. The guitarist's mastery is evident, seamlessly shifting from shimmering chord voicings to fiery, exploratory runs. This is a love letter to both jazz tradition and the limitless potential of improvisation, where every note serves the collective momentum.

Review: A multifaceted personality, 24-year-old breakout folk star Maya Delilah shares The Long Way Round on Decca Records, fresh off the back of a Spotify "One To Watch" award. "I get so influenced by different genres, people, places, and experiences that it's always felt hard for me to fit my music into a consistent sound or mood," the singer said in a statement. Forerun by the likes 'Squeeze' and 'Necklace', Delilah's vocals are breathy and her backing instrumentals smooth, tinged with the torrid strokes of Ayers-esque sunshine funk. Recorded between LA and London, the record flags up themes from cyclical relationships to predestination, with Delilah feeling that the record expresses a future nostalgia for someone she's never met before.

Review: Lou Donaldson's Say It Loud! is a classic of the late 60s soul-jazz movement, combining infectious grooves with a lineup of skilled musicians. Released in 1969 on Blue Note, this album highlights California-based Donaldson's expertise on the alto saxophone, blending hard-swinging bebop roots with a funkier, dance-driven approach. The title track, inspired by James Brown's anthem, is a cool, laid-back rendition that shows his nuanced playing alongside the solid rhythms of trumpeter Blue Mitchell, guitarist Jimmy Ponder, organist Charles Earland, and drummer Leo Morris. The album shines with its extended tracks like 'Snake Bone' and 'Brother Soul', where the soloists stretch out, creating moments of tension and release. Ponder's blues-infused guitar solos and Earland's dramatic organ builds are standouts. While the bossa nova rendition of 'Summertime' and the swinging 'Caravan' bring a more traditional jazz feel, the album is most vibrant when it grooves hard. Despite being somewhat overshadowed by Donaldson's earlier work, Say It Loud! remains a highly enjoyable and essential part of his legacy. It may not carry the same weight as Midnight Creeper, but its infectious rhythms and tasteful solos ensure its place as a classic in soul-jazz, deserving of a greater appreciation which this reissue celebrates.

Review: An album that defined the "cool" in West Coast Jazz when it emerged in 1960, it's a robust, swinging session led by the veteran Los Angeles-based tenor saxophonist. Edwards' smooth tone in the middle and lower registers, combined with a brassier edge in the upper range, showS his melodic inventiveness and dynamic fluidity. The primary rhythm section features Leroy Vinnegar on bass and Billy Higgins on drums, with either Amos Trice or, more often, Joe Castro on piano. Higgins, fresh off sessions with Ornette Coleman, locks into a straight-ahead groove, with the entire rhythm section swinging relentlessly. Pianists Trice and Castro bring a bebop-plus-barroom feel reminiscent of Sonny Clark, adding grit and charm to the quartet's sound. The program is largely blues and bebop-flavored originals, with several based on the chord changes of 'I've Got Rhythm'. The title track introduces a Latin flair, while Vinnegar's 'Vintage '57' offers variety.A pivotal moment in West Coast jazz when Edwards, once obscure, reemerged with vigour.

Review: Recorded in 1967, this jazz classic is a quintessential hard bop album that proves why the tenor saxophonist's signature sound was so influential. The seven-piece band includes alto saxophonist James Spaulding, trumpeter Lee Morgan, guitarist Sonny Greenwich, pianist Cedar Walton, bassist Walter Booker and drummer Billy Higgins and the ensemble's tight chemistry and individual virtuosity shine throughout the album with Mobley's smooth yet dynamic saxophone leading the way. A blend of intricate solos and rich ensemble passages, Third Season is a standout example of the era's high-calibre jazz and one that captures the spirit of the late 60s perfectly.

Review: A refined and understated session, this reissue is a masterful example of West Coast jazz, offering a smooth, mellow and introspective listening experience. Recorded between december 1956 and January 1957 in Hollywood, California, this album showed Pepper's signature melodic alto saxophone over a relaxed and fluid quartet setting. The lineup features Russ Freeman on piano, Ben Tucker on bass and Chuck Flores on drums, each contributing to the album's effortlessly cool and unfailingly swinging atmosphere. Unlike the high-energy performances found on Art Pepper Meets the Rhythm Section, Modern Art unfolds at a more leisurely pace, making it a perfect soundtrack for a laid-back evening. The album's bookends, 'Blues In' and 'Blues Out', frame a collection of beautifully arranged pieces, including exquisite renditions of 'Bewitched', 'Stompin' at the Savoy' and 'What Is This Thing Called Love'. One of the true highlights is 'Summertime', a performance filled with emotional depth and intensity, as though Pepper poured his very soul into each note. This Blue Note Tone Poet reissue, produced by Joe Harley and mastered by Kevin Gray from the original analogue tapes, is an essential edition. Pressed with impeccable sound quality, this release does full justice to Pepper's warm, lyrical tone. Whether you're just beginning your jazz journey or a seasoned listener, Modern Art is the type of album that continues to reveal its brilliance with every spin. If you're new to jazz, this album might just make you a fan of the West Coast sound.

Review: An album that stands as one of American jazz pianist Silver's last great albums for Blue Note. Recorded in early 1968 with two mostly different quintets, the album features trumpeter Charles Tolliver, alternating tenor saxophonists Stanley Turrentine and Bennie Maupin, bassists Bob Cranshaw and John Williams and drummers Mickey Roker and Billy Cobham. Silver's rhythmic, economical piano style is often described as funky and nowhere is this more evident than on the album's standout opener, 'Psychedelic Sally'. With its jubilant horn theme and funky Memphis soul-inspired bass riff, the track is a rollicking seven-minute classic that blends 60s funk with 50s bop. The rest of the album maintains a playful spirit. 'Rain Dance' presents a campy, American Indian-style theme, while 'Jungle Juice' offers an exotic, tribal flavour. The warm, loose-swinging title track, 'Serenade to a Soul Sister' and the ethereal 'Kindred Spirits' add depth to the set. The album closes with the gentle piano trio ballad 'Next Time I Fall in Love'. While the first half of the album leans into a bluesy, funky vibe with Turrentine's soulful saxophone, the latter half shifts to a more boppish feel with Maupin, is a different but equally engaging dynamic. Through it all, Silver's philosophy of keeping politics and anger out of his music shines, delivering a joyous and tightly performed soul-jazz classic.

Review: American jazz drummer Tony Williams rose to acclaim as a member of Miles Davis' so-called 'Second Great Quintet'. He later went on to pioneer jazz fusion with the group and formed his own outfit, the Tony Williams Lifetime. In 1986 he released 'Civilization', which marked a triumphant return to Blue Note and a great window into his visionary approach to jazz. Leading a stellar acoustic quintet with Wallace Roney (trumpet), Billy Pierce (sax), Mulgrew Miller (piano) and Charnett Moffett (bass), Williams served up a dynamic set of original compositions that pulse with intensity and technical brilliance, as well as emotional depth, while taking post-bop tradition into new relays. Each player brings sharp improvisational insight, but it's Williams' explosive yet precise drumming that anchors the session.