Review: Know What I Mean? is a sublime collaboration between two jazz giants. Released in 1961, it showcases the unparalleled musical chemistry between Adderley's exuberant alto saxophone and Evans' masterful piano. With tracks like 'Waltz for Debby' and 'Elsa,' it blends lyrical melodies with inventive improvisation to mesmerise the mind while Adderley's dynamic energy contrasts beautifully with Evans' introspective style. That captivating interplay highlights the best of both musicians and means this album is a timeless gem in the jazz canon that is rightfully celebrated for its sophistication.
Review: Originally released in 1999 and now celebrating its 25th anniversary, Black Sails In The Sunset was the fourth full-length from California hardcore-turned-horror punk heroes AFI, and is often cited as the pivotal project that signalled their sonic, career and identity shift for the decades ahead. Their first album with guitarist Jade Puget, the material marked a notable distancing from the frenetic energy of 1997's Shut Your Mouth & Open Your Eyes, and began their long love affair with gothic romanticism, Lovecraftian lyricism and a newfound horror aesthetic. Perceived by the band and fans alike for being the work that would form the basis of their future sound, while also exuding the first glimpses of vocalist Davey Havok's prowess as a melodious songwriter, there's no more important project in the AFI canon, especially when following onto the career heights of the All Hallow's EP and The Art Of Drowning LP, which likely wouldn't have materialised if not for the creative fearlessness of Black Sails.
Review: The music of David Axelrod is a rite of passage for many record collectors. The great composer, arranger and multi-instrumentalists crafted several seminal albums that all take you deep into gorgeous worlds of jazz, funk and library music with narratives you'd expect in film scores and emotion in high supply. Heavy Axe might be one of his best and so this welcome reissue is a timely reminder of that. Its sweeping strings, grand horns and orchestral arrangements ebb and flow with great drama and absorbing artistry so stick it on loud and give yourself over to its rare pleasures.
Review: The indestructible Ray Barretto demonstrated superb skills on this record back in 1973. His band were at the forefront of the new Afro-Cuban musical movement that was emerging and became known as salsa. His composer skills were well known after he wrote 'Cocinando' and his band were also much loved in the live area though Johnny Rodriguez on bongo and cencerro, bassist Dave Perez, pianist Louis Cruz, along with trumpeter Rene Lopez and vocalist Adalberto Santiago all left him soon after. HIs Indestructible album is his most remarkable, with a constant sense of flow to the rhythms from front to back.
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: For the most part, in 2024 movie soundtracks only really make it into the public domain when the film was a big hit, or has achieved the kind of cult status that turns fans into collectors. April Fool's Day, released in 1986, received widely varied responses from critics at the time, but has since chalked up a strong following among die hard horror, and particularly slasher, movie lovers. We definitely recommend watching it - the flick landed at a great time for genre and sub-genre and refused to kowtow to the canon's rules of the day. In terms of score itself, this is Charles Bernstein working at his most comfortable (his other horror scores include the iconic Nightmare On Elm Street, a year or so earlier), so think tense, ominous refrains, twinkling synths, and descending strings. Oh, and bar room rock & roll.
Review: Here's a masterclass in live jazz recordings, widely considered one of the best of all time and with very good reason. Bill Evans sat down at the piano for five consecutive sets at the Village Vanguard in New York on June 25 1961, joined by drummer Paul Motian and bassist Scott LaFaro (who died just 11 days later). Due to LaFaro's death, the album was put together as a tribute of sorts, bookended by LaFaro's own compositions and with other tracks selected to celebrate his outstanding playing. Other albums such as Waltz For Debby have since drawn on material from these sessions, but this original set remains the unrivalled pinnacle of live sets from Evans.
Review: Reissued via Craft now, after a long run with Art Blakey's original issuers Riverside Records, Caravan is the first record by the drummer to be released in 1963. With Freddie Hubbard on trumpet, Wayne Shorter on sax, Curtis Fuller on trombone, Cedar Walton on piano and Reggie Workman on bass, Blakey commands a fiery, banging temper on this eight-track record, yet somehow still makes such carpal explosives flow like poetry. The album's most notable element is that Blakey finds immense joy in subtly variating around difficult, tupletting riffs, which nonetheless go on to produce discernible and well-rounded progressions. We wouldn't expect anything less from the master.
Review: Part of the Original Jazz Classics Series, this 1963 album from the great Kenny Burrell and John Coltrane is now reissued on 180-gram vinyl. Featuring Burrell and Coltrane, along with Tommy Flanagan, Paul Chambers, and Jimmy Cobb, the album comprises five tracks that have been remastered from the original tapes by Kevin Gray at Cohearent Audio. It's an absorbing journey into two genius creative minds and comes comes in a Tip-On Jacket, preserving the essence of the original release while offering enhanced sound quality for contemporary listeners.
Review: A deep dive into the Fania vaults has uncovered Cafe, a Latin funk and soul classic that was recorded half a century ago. To mark the 50th anniversary of this great album, which was produced by the legendary conguero Ray Barretto and originally released on Vaya Records, it gets this nice heavyweight reissue on Craft. The standout track 'Si Dame Tu Amor' delivers infectious funk grooves reminiscent of Barretto's own work, while 'Identify Yourself' is another one to light up any party. All the tunes have been cut from the original master tapes by Kevin Gray at Cohearent Audio so sounds superb.
Review: Renowned bassist Ron Carter's inaugural album, 'Where?' introduced a stellar lineup of talent alongside the main man including Eric Dolphy on clarinet, saxophone, and flute, and pianist Mal Waldron. Originally recorded at Rudy Van Gelder Studios in New Jersey in 1961, the record showcases the early brilliance of Carter's musical vision. Now reissued as part of the Original Jazz Classics Series, this edition is pressed on high-quality 180-gram vinyl by RTI. Mastered with meticulous care by Kevin Gray at Cohearent Audio, using analogue techniques from the original tapes, this release offers a pristine listening experience and is a great chance to rediscover the timeless allure of Carter's debut masterpiece.
Review: Craft Latino's vinyl reissue of Willie Colon and Hector Lavoe's 1970 album La Gran Fuga is a welcome revival of one of Latin music's most iconic collaborations. Newly remastered and pressed on 180-gram vinyl, this release allows listeners to experience the brilliance of Colon and Lavoe's sixth album in all its glory. With classics like 'Barrunto,' 'Pa' Colombia,' and 'Abuelita,' 'La Gran Fuga' presents the duo's unparalleled creativity and commercial success. Backed by a talented lineup of musicians overseen by Johnny Pacheco, Colon and Lavoe push the boundaries of salsa music, incorporating diverse musical traditions and delivering dance-floor hits alongside emotive ballads. The album's iconic cover art, featuring Colon's "Malo" alter-ego in an FBI wanted poster, adds to its cultural significance. Despite initial controversy, La Gran Fuga became a massive success, earning the duo their second Gold certification and solidifying their place in Latin music history. Retrospectively praised as "essential music" and lauded for its confidence and flexibility, La Gran Fuga remains a shining emblem of the Colon/Lavoe musical aesthetic. As listeners revisit these timeless tracks, they're reminded of the duo's remarkable talent and enduring legacy.
Review: Creed's Human Clay 25th Anniversary reissue on grey smoked vinyl celebrates the 1999 album that catapulted the band to global stardom. With its anthemic lead single 'Higher,' which spent 57 weeks on the Billboard Hot 100, and other rock staples like 'What If' and 'With Arms Wide Open,' this album defined the post-grunge era. Debuting at No. 1 on the Billboard 200 and selling over 20 million copies, Human Clay became a defining soundtrack of its time. The gatefold double LP reissue offers a nostalgic look back at Creed's monumental success, making it a coveted collector's item for fans of the rock scene of the late 90s and early 2000s.
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: Celia & Johnny, released in 1974 on Fania Records, marked a pivotal moment for both Celia Cruz and salsa music. By this point, Cruz was already a celebrated star in Cuba, but her attempts to break into the U.S. salsa scene had struggled. Enter Johnny Pacheco, co-founder of Fania Records and leader of the Fania All-Stars. A longtime admirer of Celia's powerful contralto voice, Pacheco believed her potential had been stifled by overly complex arrangements. He was confident that pairing her voice with his more streamlined Afro-Caribbean rhythms would catapult her into salsa stardomiand he was right. The album produced two defining hits, 'Toro Mata' and 'Quimbara', both of which immediately resonated with dancers and salsa enthusiasts. The infectious grooves provided by Pacheco's band allowed Celia's voice to shine, and the success of these tracks solidified her status as the Queen of Salsa. Celia & Johnny is now seen as a cornerstone of salsa's golden age. The record's blend of traditional Cuban styles like mambo, guaracha, and guaguanco with the modern salsa sound brought the genre to a wider audience, particularly younger U.S.-born Latinos. Deep cuts like 'Tengo El Idde', 'Lo Tuyo Es Mental', and 'Canto a La Habana' further showcase Cruz's versatility, with moving performances that tap into spiritual, comedic and patriotic themes. Ultimately, Celia & Johnny remains a landmark collaboration that helped define the global appeal of salsa.
Review: For all but the most ardent followers of jazz and diehard Miles Davis fans, it can be hard to keep up with the many different albums he put out alongside his Quintet. That Quintet, often said to be the greatest in all of jazz history thanks to including Miles on trumpet next to John Coltrane on tenor, Red Garland on keys, bass from Paul Chambers and Philly Joe Jones on drums, put out several long players with very similar titles including this one, Miles: The New Miles Davis Quintet, in 1956. It is one of the earlier works from the then newly formed band and the songs in it are a mix of pop and jazz standards.
Review: Together Again!!!! reunites trumpeter Howard McGhee and saxophonist Teddy Edwards in a jazz collaboration originally released in 1961 that is as energised and electric as the title with all its many exclamation marks. This reissue is part of the Acoustic Sounds Series and showcases the exceptional talents of McGhee and Edwards alongside Phineas Newborn Jr. on piano, Ray Brown on bass, and Ed Thigpen on drums. It has been cut from the original master tapes by Bernie Grundman so the AAA lacquers enhance the album's rich sound. It's a mini-classic of the jazz world and it never sounded better.
Review: Craft Recordings get back on their curatorially expert business with this serious new reissue from Fania All Stars, the long out-of-print Latin-Soul-Rock. This eight-track gem from the 70s salsa ultragroup (literally; FAS consisted of over 25 members at the height of its fame), released via their own label in 1974, documents the moment at which over 40,000 salsa punters visited New York's Yankee Stadium to catch a glimpse of their talents, alongside a myriad of other Latin greats. Fania All Stars threw a curveball, however, by not only playing pure salsa but blending it with styles like funk and soul, thus sticking out from the crowd and adding a spicier punch. We welcome this record, out via Craft Latino, with alacrity, as it celebrates the 50th anniversary of this 'wow' moment, which deserves to be documented even if solely for its powers of FAS' fusional imagination.
Review: Turn It On Again: The Hits offers a concise collection of Genesis's chart-topping tracks, catering to fans who view the band primarily through their hit singles. While some lesser-known songs make the cut over notable tracks like 'Paperlate' or 'Man on the Corner,' the compilation delivers all the major hits, including 'Turn It On Again,' 'Invisible Touch' and 'Follow You, Follow Me.' Although the sequencing may seem odd at times, with Peter Gabriel's earlier work juxtaposed with Phil Collins-era hits, standout moments like the reworked 'The Carpet Crawlers 1999' showcase the album's value. While it may not sway die-hard fans, Turn It On Again satisfies those seeking a comprehensive overview of Genesis's mainstream successes.
Review: How We Operate is the fifth studio album from Gomez, originally released in May 2006. Celebrating National Album Day 2024, it is now available for the first time on vinyl since its debut, pressed on double amber translucent vinyl. The album features standout tracks from the Sheffield stool rockers such as 'See The World', 'How We Operate', 'Notice', and 'Girlshapedlovedrug'. Known for its eclectic mix of indie rock and blues, this limited edition is a collector's gem for hardcore Gomez fans.
Review: Piano player Hampton Hawes' For Real! embodies the raw essence of hard bop with its explosive energy and impeccable interplay between musicians. Originally released in 1961, this album showcases Hawes' exceptional artistry alongside the masterful Harold Land on tenor saxophone, Frank Butler on drums, and the legendary bassist Scott LaFaro. Throughout the memorable outing, Hawes exudes an inspired spirit, matching effortlessly with Land's dynamic tenor and LaFaro's virtuosic basslines. The quartet's synergy creates a captivating soundscape that captivates the listener with its spontaneity and infectious groove.
Review: The original motion picture soundtrack for The Truck Turner delivers a thrilling blend of gritty funk, soul and high-energy jazz that perfectly complemented the 1974 blaxploitation classic. Composed by the great Isaac Hayes, the soundtrack is a dynamic showcase of his signature style that blends soulful melodies with intense orchestral arrangements. Tracks like 'Main Theme' and 'Breaking Into The Business' capture the raw energy and tension of the film while Hayes' deep voice and lush arrangements bring an added layer of sophistication to the score.
Foresight & Afterthought (An Impromptu Suite In Three Movements) (5:35)
Review: Craft Recordings offer up an in-demand reissue of Joe Henderson's Power To The People, an abiding classic in the domain of New York hard bop, and one of three standouts in Henderson's Milestone Records era, through which the completist listener may chart and increasing political awareness and stylistic horizon-expansion on the artist's behalf. Recorded during a turbulent phase in the Civil Rights movement of the 1960s, Power To The People raises a clenched fist in favour of democracy and equality, whilst at the same time incorporates many an unforeheard sound and instrument for Henderson, from electric piano to bass and enlisting the aid of fusion greats like Herbie Hancock and Ron Carter - all amounting to the jazz equivalent of a revolutionary event, after which nothing would ever be the same.
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: Jazz vocalist Helen Humes is not as well known as some of her peers, but that isn't for lack of talent. This was her second album on Contemporary Records and it came in 1961 as a fully realised exhibition of her vocal versatility and charm. Conducted by Marty Paich, the record features an all-star lineup including saxman Art Pepper, bass from Leroy Vinnegar, drums by Shelly Manne and guitar from Barney Kessel. This reissue has been meticulously crafted with AAA lacquers cut from the original master tapes by Bernie Grundman so is an authentic representation of the original magical sound with unmatched fidelity.
Review: Released with acclaim, John Wright Trio's South Side Soul resonates with an authentic and vibrant energy that captures the essence of the South Side music scene. Led by John Wright's soulful piano, the trio weaves intricate melodies and infectious rhythms throughout the record. Tracks like title song and '63rd And Cottage Grove' exhibit's the trio's ability to blend traditional jazz elements with the raw energy of soul music, resulting in a dynamic and captivating listening experience. The musicianship displayed on each track is impeccable, with tight grooves and expressive solos that keep listeners engaged from start to finish. South Side Soul is more than just an album; it's a journey through the rich musical landscape of the South Side. This album takes you to the street scene in Chicago 1950s.
Review: Originally released in 1960, Harold Land's Fox has not been reissued since 1969; this Craft Recordings reissue is long overdue. The tenor saxophonist delivers six fast-paced hard bop dazzlers here, flaunting an ultra-speedy take on the already high-velocity sound. Aside from the obvious talents of Land, the listener will be equally impressed by the inclusion of St. Elmo Hope in the Land band as pianist, lending an extra-special dimension to this challenging, whimsical, but still breezy album.
Review: The Black Hawk Vol. 1 by Shelly Manne & His Men is a classic hard bop album that captures the energy and excitement of a live performance. Originally released in 1960 and now in 2024 with stunning sound quality. The album features a dynamic band led by the legendary drummer Shelly Manne, who is widely regarded as one of the greatest jazz drummers of all time. The group also includes tenor saxophonist Richie Kamuca, trumpeter Joe Gordon, pianist Victor Feldman, and bassist Monty Budwig. The album opens with a laid-back rendition of "Summertime," which sets the stage for the more up-tempo bop tunes that follow. The band swings with effortless precision, and the solos are all top-notch. At The Black Hawk Vol. 1" is a must-listen for any fan of hard bop or jazz in general.
Review: The pioneering American jazz trumpeter Howard McGhee was one of the first to do bebop and this is often noted as a legacy for which he never truly did receive credit by the history books. Maggie's Back In Town!!, however, released in 1961 on the Contemporary label, is the most likely candidate for piercing this occlusive remainder; it's a tight, light tsk-tsker, on which McGhee's playing is never once heard getting ahead of itself or biting off more than it can chew. The mood is laconic and muted, as if to demonstrate McGhee's relaxed persona and long-awaited return to town. Phineas Newborn Jr (piano), Leroy Vinnegar (bass) and Shelly Manne (drums) add to the hoo-hah with their virtuosic but subtle sang-froid.
B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition
Walkin' (13:24)
Blue 'N Boogie (8:20)
Solar (4:44)
You Don't Know What Love Is (4:22)
Love Me Or Leave Me (6:57)
Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***
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: 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: Walkin' was (and is) a key album in Miles Davis’ discography. It contains the product of two different sessions: the first date, which is actually the second chronologically, yielded just two tracks, ‘Walkin’’ and ‘Blue N’ Boogie’. Although something new for the time, these were long enough to fill one side of the ensuing LP. On the B-side is the record of a more fruitful session, quantity-wise: the expository ’Solar’ is a serene an carefree bop, keeping up airy echelons of sax and double-tsking rides amid cloud-chopped rays of sunlight. Then comes the careful channelling of blue resentment, ‘You Don’t Know What Love Is’, a difficult-to-achieve, but beautifully executed take on the bittersweet aftertaste of failed amity.
Review: As part of the newly relaunched Original Jazz Classics Series, Kevin Gray at Cohearent Audio has remastered this seminal jazz record from Thelonius Monk and John Coltrane from the original tapes and in all analog fashion. It's a deserving treatment for what many believe to be one of the great ever collaborative jazz records. As well as those two legendary players and jazz innovators, further greats joined in the recording sessions including Art Blakey on the drums, Wilbur Ware on bass, and alto sax from Gigi Gryce. What a piece of history it is too.
Come Rain Or Come Shine (take 2, album version) (6:59)
SOS (take 3, album version) (5:06)
Full House (7:22)
Blue 'N' Boogie (take 1, alternate take) (11:01)
Cariba (take 1, alternate take) (8:31)
Come Rain Or Come Shine (take 1, alternate take) (7:21)
SOS (take 1, alternate take) (5:12)
SOS (take 2, alternate take) (4:46)
Born To The Blue (take 1, outtake) (7:25)
Born To The Blue (take 2, outtake) (7:26)
Review: Revered jazz guitarist Wes Montgomery originally released Full House in 1962, and it became one of his most popular albums. Recorded live at Tsubo coffee house in Berkeley, California, the classic LP showcased particular selections from his performance which became hugely influential thanks to Montgomery's distinctive, expressive tone. Now Craft have gathered together all the original analogue tapes to present a definitive edition of the album spread across three discs, including some alternate takes recorded during the hybrid recording session and concert. After his untimely passing in 1968, Montgomery's playing became a source of fascination for successive generations of jazz guitarists, and here, laid out in comprehensive fashion, is the reason why.
Review: Legendary jazz drummer Idris Muhammad really made his mark with his debut album Black Rhythm Revolution! for the Prestige label in 1970. Originally recorded at celebrated Rudy Van Gelder studio in Englewood Cliffs, it is bookend by length tunes 'By the Red Sea' and 'Wander' which feature tight grooves, compact solos and memorable melodies. It is not as intense of some of his later work and features the likes of Virgil Jones on trumpet Clarence Thomas on tenor and soprano saxophone and Jimmy Lewis on electric bass. Craft present this reissue with original artwork on nice 180 g limited edition vinyl.
Review: The New Miles Davis Quintet album simply referred to as Miles represents a pivotal moment in jazz history that showcases the legendary trumpeter at the peak of his creative prowess. Recorded in 1955 for Prestige Records, this album features Davis alongside an extraordinary lineup of musicians, including John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. Their synergy is palpable as they navigate through a series of wild compositions with virtuosity and innovation. From the infectious grooves to the emotive solos, Miles captivates listeners with its timeless appeal, cementing its status as an essential cornerstone of the jazz canon.
Review: Art Pepper's most well known record gets reissued here and it has long remained a masterful showcase of the jazz saxophonist's remarkable artistry. It was recorded in 1960 during a particularly vibrant period of his career and delivers exactly what its title promises: a deeply emotive and powerful performance marked by technical brilliance and heartfelt expression. Tracks like 'Gone with the Wind' and 'I Can't Believe That You're in Love with Me' highlight Pepper's lyrical phrasing and soulful tone as he blends bebop agility with a poignant sensitivity. Supported by a stellar rhythm section, Intensity is a great testament to Pepper's enduring influence on jazz.
Review: Art Pepper's best albums are being reissued right now and this is one of them. Gettin' Together! is a vibrant and joyous record recorded in 1960 and showcasing Pepper's dynamic interplay with a stellar lineup that features pianist Wynton Kelly and trumpeter Conte Candoli. Often seen as a companion to Meets the Rhythm Section, this album exudes a lighter, more spontaneous energy and tracks like 'Whims of Chambers' and 'Bijou the Poodle' highlight Pepper's fluid alto saxophone style. He blends bebop sophistication with West Coast cool and the ensemble's chemistry is undeniable throughout as they create a swinging yet intimate atmosphere on this gem of an album.
Review: Originally released in 1963 under the Contemporary Records label, The Cry! still stands tall as a hallmark of free jazz by saxophonists Prince Lasha and Sonny Simmons. The timeless album which is now reissued on the Craft label, also showcases the talents of Gary Peacock and Mark Proctor on bass, and Gene Stone on drums. This Acoustic Sounds Series edition boasts AAA lacquers cut from the original master tapes by Bernie Grundman, pressed onto 180-gram vinyl at QRP and housed in a tip-on jacket for a deluxe presentation, making it a fantastic-sounding record.
Review: Coming just after this seminal recording celebrated its 50th anniversary, Craft Recordings presents a carefully handled reissue of Tito Puente's Para Los Rumberos. Puente remains one of the all time greats of Afro-Cuban percussion, and he recorded this definitive set in New York in 1972, whipping through mambo, guaracha and cha-cha-cha with his trademark explosive drumming front and centre and backed up by some sharp-shooting players. Cut all-analogue from the original tapes and pressed in audiophile quality, this is a much-deserved revisit to one of the most iconic recordings in Puente's accomplished career.
Review: A landmark record in the realm of piano jazz, Groovy is an evocative album of both standards and originals by the jazz pianist Red Garland, a Texan legend known for his career-long work alongside Miles Davis and Charlie Parker. Vintage in sound, with a single-take recording allowing in an extra-authentic vintage dust between the cracks, this Craft Recordings reissue recalls Garland's impressively heartbled, locked-hand playing, most notably on the utter beauty that is 'Gone Again' (Curtis Lewis), which even ventures so far as to meander into far-flung chromatics on the lead line; the whole album sounds to follow this song, with its mix allowing extra, weightless headroom for the piano to poke out from above things.
B-STOCK: Sleeve damaged but otherwise in excellent condition
C-Jam Blues (8:23)
Gone Again (6:46)
Will You Still Be Mine? (4:43)
Willow Weep For Me (9:38)
What Can I Say Dear (7:16)
Hey Now (3:40)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
A landmark record in the realm of piano jazz, Groovy is an evocative album of both standards and originals by the jazz pianist Red Garland, a Texan legend known for his career-long work alongside Miles Davis and Charlie Parker. Vintage in sound, with a single-take recording allowing in an extra-authentic vintage dust between the cracks, this Craft Recordings reissue recalls Garland's impressively heartbled, locked-hand playing, most notably on the utter beauty that is 'Gone Again' (Curtis Lewis), which even ventures so far as to meander into far-flung chromatics on the lead line; the whole album sounds to follow this song, with its mix allowing extra, weightless headroom for the piano to poke out from above things.
All The Way To Reno (You're Gonna Be A Star) (4:36)
She Just Wants To Be (5:19)
Disappear (4:05)
Saturn Return (4:48)
Beat A Drum
Imitation Of Life
Summer Turns To High
Chorus & The Ring
I'll Take The Rain
Beachball
Review: Following the muted reception to 1998's predominantly electronic based Up, alt rock giants REM opted to return to a more traditional style of songcraft with their 2001 follow up Reveal. While still relying on a bevvy of glistening synths, the material exuded a retrofitted approach to their dynamic songwriting, with primary songwriter Michael Stipe rediscovering his creative purpose and voice, even as recently as 2021, referring to the work as his personal favourite of the band's output. Best known for the latter day essential contribution to their back catalogue; 'Imitation Of Life', the project also boasts lush opener 'The Lifting', which served as a prequel to 'Daysleeper' from their preceding LP, as well as standout cut 'Disappear', which came from Stipe's motivating Thom Yorke of Radiohead to overcome his stage fright. This in turn led to the Kid A track 'How To Disappear Completely', which reverted back to Stipe penning his own musical articulation of his communing with Yorke. More than two decades on, this often overlooked gem couldn't be more deserving of a reissue and refreshed ears.
Review: This vinyl reissue honours the wonderful Roberto Roena y Su Apollo Sound's 1970 debut for Fania Records. Formed in 1969, Apollo Sound became one of Puerto Rico's premier salsa bands. Highlights of this rich and vibrant album include 'Tu Loco Loco, y Yo Tranquilo,' 'El Escapulario,' and the Bobby Capo classic 'SoNando con Puerto Rico.' The 180-gram vinyl features lacquers cut from the original master tapes by Kevin Gray at Cohearent Audio, ensuring top-notch sound quality. Packaged in a vintage-style tip-on jacket, this US import is a must-have for salsa lovers.
I've Told Ev'ry Little Star (LP2: Sonny Rollins & The Contemporary Leaders) (5:28)
Rock-A-Bye Your Baby With A Dixie Melody (4:49)
How High The Moon (7:44)
You (4:25)
I've Found A New Baby (3:39)
Alone Together (5:59)
In The Chapel In The Moonlight (6:43)
The Song Is You (5:43)
I'm An Old Cowhand (alternate take - LP3: Contemporary alternate takes) (10:01)
Come, Gone (alternate take) (10:30)
Way Out West (alternate take) (6:37)
The Song Is You (alternate take) (6:15)
You (alternate take) (4:13)
I've Found A New Baby (alternate take) (4:20)
Review: This triple pack box set from Craft Recordings takes a look at legendary jazz saxophonist Sonny Rollins and his run for Lester Koenig's revered Los Angeles label Go West. As well as presenting seminal albums Way Out West and Sonny Rollins and the Contemporary Leaders in full, this collection also presents six additional alternative takes from both album sessions, allowing listeners to hear the development of such iconic recordings as 'Come, Gone'. With additional liner notes from noted music historian Ashley Kahn and an interview with Rollins from 2021, this is an authoritative look at a true legend in the legacy of jazz.
I've Told Ev'ry Little Star (LP2: Sonny Rollins & The Contemporary Leaders) (5:28)
Rock-A-Bye Your Baby With A Dixie Melody (4:49)
How High The Moon (7:44)
You (4:25)
I've Found A New Baby (3:39)
Alone Together (5:59)
In The Chapel In The Moonlight (6:43)
The Song Is You (5:43)
I'm An Old Cowhand (alternate take - LP3: Contemporary alternate takes) (10:01)
Come, Gone (alternate take) (10:30)
Way Out West (alternate take) (6:37)
The Song Is You (alternate take) (6:15)
You (alternate take) (4:13)
I've Found A New Baby (alternate take) (4:20)
Review: ***B-STOCK: Missing obi-strip***
This triple pack box set from Craft Recordings takes a look at legendary jazz saxophonist Sonny Rollins and his run for Lester Koenig's revered Los Angeles label Go West. As well as presenting seminal albums Way Out West and Sonny Rollins and the Contemporary Leaders in full, this collection also presents six additional alternative takes from both album sessions, allowing listeners to hear the development of such iconic recordings as 'Come, Gone'. With additional liner notes from noted music historian Ashley Kahn and an interview with Rollins from 2021, this is an authoritative look at a true legend in the legacy of jazz.
Review: Way Out West is Sonny Rollins' 1957 foray into jazz with a visually Western edge. Famous for its novel use of the 'strolling' technique - on which the esteemed American tenor saxophonist only solos with bass and drums, and drops the piano and guitar accompaniment - the sound produced is a uniquely up-close one. This Craft reissue captures that very same curious mood of Rollins' first adventure"out West", which we vicariously experience through this record.
Review: Southern Californian punk legends Social Distortion dropped their vital debut album Mommy's Little Monster four whole decades ago now. To mark the anniversary it is getting a special 40th edition reissue and has been freshly mastered from the original analogue tapes and pressed up to 180-gram vinyl for the occasion. The nine songs that were on the original release of the album all feature such as the much loved title track 'Mommy's Little Monster' and single 'Another State of Mind'. Proper original punk business from the US greats.
Review: The Original Jazz Classics series continues to uphold its legacy with the reissue of Clark Terry's seminal album, In Orbit. Originally recorded in New York in 1958 and featuring the legendary Thelonious Monk in his sole Riverside outing as a sideman, this album is a cornerstone of Terry's discography. Accompanied by Sam Jones on bass and Philly Joe Jones on drums, In Orbit features Terry's inept talents as a trumpeter and leader. This reissue, pressed on 180-gram vinyl at RTI, benefits from AAA lacquers meticulously cut from the original master tapes by Kevin Gray at Cohearent Audio. The packaging also features a high-quality Tip-On Jacket, reflecting the series' commitment to preserving the integrity of the original release, from cover art to liner notes. Since its inception in 1982, the Original Jazz Classics (OJC) series has been the benchmark for collectible jazz reissues. In Orbit is a prime album to reissue, offering a pristine listening experience that honors the timeless artistry of Clark Terry and his collaborators.
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.
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