Craft Vinyl & CDs

Review: Joe Bataan's 1968 sophomore album Riot! is considered a cornerstone of Latin soul and the record that truly cemented his reputation as the genre's king. Backed by the dynamic Latin Swingers band, Bataan masterfully blends Afro-Cuban rhythms, soul and funk with his signature streetwise flair. Tracks like 'It's a Good Feeling' and the title song capture the energy and emotion of late-1960s urban life while reflecting both personal and societal struggles. Its infectious grooves, raw vocal delivery and tight instrumentation mean that this one remains a timeless classic that continues to resonate across the generations.

Review: This reissue brings an essential piece of Latin music history back to life. The album crackles with energy, blending Afro-Cuban rhythms with an electrifying brass section and masterful percussion. Upbeat guaracha mambo, driving son montuno and cha-cha-cha grooves create an infectious momentum, while the arrangements from legends like Tito Puente, Charlie Palmieri and Louie Ramirez ensure every track is dynamic and meticulously crafted. The opener is a self-affirming explosion of rhythm, setting the tone for a collection that seamlessly balances joyful exuberance with poignant storytelling. Tracks like the rapid-fire guaracha about the struggles of rebuilding life as an immigrant add depth, while lighthearted guajira melodies and a playful cha-cha-cha about space travel showcase remarkable versatility. Despite its initial modest success, this record was a foundational moment, paving the way for an illustrious career that would define and elevate salsa worldwide. The remastering from the original analogue tapes ensures a rich listening experience. Nearly six decades later, its impact and brilliance remain undeniable.

Review: Joe Henderson's synergistic 1973 sax record first came to Milestone Records amid the musician's long and storied fusion-crossing-into-free-jazz period. With a Warholian front cover and a punch-packing cast of talents behind him - from Larry Willis to James Blood Ulmer to Dave Holland to Jack DeJohnette - this is indeed a milestone, charging terminals of funk, blue jazz and Afrobeat, and crossing into both the spiritual and the atonal. Mid-record high-point 'Song For Sinners' almost certainly takes after Sun Ra with its trembling saxophones above a distended groove, while 'Turned Around' is a lot freer and easygoing and yet far more determined in the rhythm section.

Review: A striking album of the bop era that was highlighted by his undying conviction and ability to reclaim his status as a primary architect of the genre. The album is built around two exceptional groups: a sextet and a quintet, both anchored by Davis' blue-chip rhythm section of Horace Silver (piano), Percy Heath (bass) and Kenny Clarke (drums). The sextet features trombonist J.J. Johnson and tenor saxophonist Lucky Thompson, while the quintet adds Dave Schildkraut (alto sax), whose contributions, though lesser-known, are memorable. The title track, an extended 12-bar blues, shows Davis' ability to exude an air of detachment from the music, making it feel like an extension of his solo rather than the other way around. 'Blue 'n' Boogie', in contrast, is a lively, energetic tune where Davis and Johnson engage in spirited improvisation, with Johnson even quoting from Thelonious Monk's 'Rhythm-A-Ning'. 'Solar' introduces a delicate interplay, with Silver's piano solo displaying an Ellington-esque elegance. The album's final track, 'Love Me or Leave Me', foreshadows Davis' later breakthrough, with his swift and decisive trumpet solo hinting at the bold innovations to come. Walkin' stands as an essential bop-era classic, with Davis' brilliant command over his instruments and his bandmates, with pieces like 'Walkin'' and 'Solar' cementing its place as a foundational jazz work.

Review: In 1970, soul icon Carla Thomas recorded a full album at Memphis' American Sound Studio for Stax Records. While two tracks were released as a single, the complete project was shelved and remained unreleased until it surfaced in a 2013 compilation. Now, 55 years later, the long-lost album finally sees its vinyl debut. Featuring songs penned by songwriting legends such as James Taylor, The Bee Gees and the duo Goffin and King, this record offers a long-overdue spotlight on a hidden gem from one of Stax's most beloved voices and captures a soulful moment in time that nearly slipped through the cracks.

Review: There have been many concurrent sounds of 60s and 70s New York, but the Latin soul subsidiary of said multipli-city saw and heard its heyday in the sweet-spot of 1964-78, where the Latin American favourite label Fania Records reigned supreme in its niche. Bannering the likes of Willie Colon, Hector Lavoe, Ruben Blades, Johnny Pacheco and Celia Cruz, Fania was born of a desire to promote salsa music and adjacent styles in New York, after Dominican musician and label boss Johnny Pacheco underwent financial woes and sought respite in memories of a quaint Cuban luncheonette of the same name. The heady mix of sonic pimento collides several of the best salsa bands in a New York otherwise dominated by soul and funk, amounting to a charred, lively stew.