Back catalogue: Jazz

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: The Last Poets, pioneers of revolutionary spoken word and proto-rap, return with a powerful new album that blends their fiery lyricism with the infectious rhythms of Afrobeat. 'Africanism' sees the legendary duo, Abiodun Oyewole and Umar Bin Hassan, collaborating with a stellar cast of musicians, including the late Tony Allen, Prince Fatty, and members of Seun Kuti's Egypt 80. The result is a potent and timely exploration of social and political issues, delivered with the same raw energy and uncompromising spirit that has defined The Last Poets' music for over five decades. Abiodun revisits classics like 'When The Revolution Comes' and 'Gash Man', their messages of social justice and self-empowerment still burning bright. Umar's 'Niggers Are Scared Of Revolution' and 'Just Because' remain as potent and provocative as ever, their unflinching commentary on race and inequality cutting through the noise of contemporary discourse. The album's musical landscape is equally captivating, with Tony Allen's polyrhythmic drumming providing a driving force, complemented by the soulful melodies and intricate arrangements of the contributing musicians. A powerful reminder of the transformative power of music and spoken word.

Review: Laufey's GRAMMY-winning sophomore album, 2023's Bewitched, returns in freshly expanded form. Musically, the set is rooted in vintage jazz and classical music, though its perspective - not just lyrically, but in its approach to subtle musical fusion - is undeniably contemporary. It remains a brilliant set, with the Icelandic artist effortlessly flitting between 1930s style smoothness ('Dreamer'), string-laden acoustic jazz ('Second Best'), bossa-nova ('From The Start'), and tributes to the heartfelt works of Nina Simone ('Misty'). This edition also boasts a quartet of bonus cuts, including superb recent single 'Goddess'.

Review: Australian minimalist-jazz trio The Necks return with a powerful exploration of stillness and decay in the for of their new album, Bleed. The record features one lone 42-minute composition in which the band masterfully delves into the beauty of space and subtle transformation. Through their unique blend of minimalist jazz, The Necks continue to craft a distinct sound that shows subtle evolution and makes for another striking chapter to their extensive body of work. Bleed is all about giving over to the meditative journey where every note and pause evokes the profound complexity of time and impermanence, all while showcasing the trio's remarkable ability to evoke plenty of very real emotion despite the minimal nature of their evocative sounds.

Review: Jeff Parker's The Way Out of Easy harnesses his long-running ETA IVtet's residency at the Los Angeles creative music venue, ETA. Featuring saxophonist Josh Johnson, bassist Anna Butterss, and drummer Jay Bellerose, the album comprises four expansive tracks recorded live on January 2, 2023. Known for their transcendental, groove-oriented improvisations, the ETA IVtet's sound evolved over seven years, blending minimalism and polyrhythmic mantras. Engineered by Bryce Gonzales, who designed a custom mixer specifically for the group, The Way Out of Easy presents a pure, transparent auditory experience. The set begins with 'Freakadelic', a composition from Parker's 2012 album, before moving through meditative and richly textured pieces like 'Late Autumn' and 'Easy Way Out'. The album closes with a spontaneous dub/reggae groove titled 'Chrome Dome'. As the final chapter in ETA's history, The Way Out of Easy is a testament to the ensemble's deep creative synergy and the enduring spirit of the venue.

Review: On the cover of his first album for a decade, saxophonist Kamasi Washington stares intently out, the universe stretching out to infinity behind him. You see, Washington is something of a Sun Ra acolyte, and there's something of the great man's spiritual, psychedelic and far-sighted feel about The Epic. Rooted in a loose, soulful and occasionally riotous blend of spiritual jazz, it more than lives up to its' name, stretching across three themed CDs. While Washington's tenor sax offers a focal point throughout, it's merely part of a greater ensemble effort - Sun Ra Arkestra style - that helps The Epic fly by in a flurry of loose-limbed drums, rubbery double bass, hammered-out pianos and intoxicating vocals.