Review: La Clave's self-titled album from 1973 is a refreshing mix of Latin rhythms and the vibrant sounds of the city of San Francisco. Formed by nine musicians from Mexico, Panama, Cuba and Puerto Rico with Benny Velarde at the helm, the group blended their rich cultural backgrounds with the soulful and experimental music scene of the Bay Area during that period. This unique mix created a joyful, energetic sound that still lures you in to this day, which is why this mini-classic gets reissued as part of the Verve By Request series.
Review: 1997's Slow Traffic to the Right found Bennie Maupin navigating between cerebral jazz and deep funk with style and ease. Though generally known for his abstract leanings and serious musical demeanour, here he showed a lighter side - not least because he is actually smiling on the album cover - while diving into grooves shaped by his time with Herbie Hancock's Headhunters. With help from rhythm masters like Mike Clark and Paul Jackson, Maupin swaps out ECM austerity for signature Oakland bounce, so tracks like 'It Remains to Be Seen' and 'You Know the Deal' excel with newfound swagger without abandoning his jazz roots. It's a compelling pivot into accessible, funky and smart jazz soul.
Review: Jazz legend Max Roach recorded his Moon Faced and Starry Eyed album originally back in 1960. It now gets reissued some 60 years later and remains a jazz classic that for some reason is often rather overlooked. It features Roach alongside his mega-talented group with Ray Bryant, Julian Priester, and Stanley and Tommy Turrentine all playing while Abbey Lincoln is on vocals for two tracks. They are 'Never Leave Me' and a cover of Cole Porter's 'I Concentrate On You' and sit well with other gems like 'Come Rain Or Come Shine' and the standout title cut.
Review: Jazz and punk's best legacies fuse together with this latest collaborative release between The Messthetics and James Brandon. Brandon is a jazz saxophonist and contemporary virtuoso from New York; meanwhile, the Messthetics consist of former Fugazi members - bassist Joe Lally and drummer Brendan Canty with guitarist Anthony Pirog. Continuing the latter's pegging as a 'jazz punk jam', the focus here is on Brandon's novel sax playing, lent to the Messthetics' cathartic, ultimate punk-riffing focus. All is instrumental, as signalled on the lead single 'Emergence', which finds pure enjoyment in variation around a singular four-by-four bass loop. In the saxophonist's own words: "The Messthetics are friends at this point and collaborating with them over the years has now brought us to another high point of musical bonding and purely unapologetic energy!"
Review: Gerry Mulligan's album Night Lights exemplifies his mastery of the baritone saxophone within the West Coast jazz scene. Recorded at The Nola Penthouse Studios in New York, Mulligan's quintet delivers a captivating performance. The title track sets the tone with Mulligan's crystalline piano work, while Art Farmer and Bob Brookmeyer showcase their finesse in solos. Louis Bonfa's 'Carnival' and 'Wee Small Hours' evoke emotion, with standout solos by Jim Hall. Mulligan's arrangement of Chopin's 'Prelude In E Minor' adds depth, leading into the upbeat 'Festive Minor' and the tender 'Tell Me When.' Despite being overlooked upon its release, Night Lights remains a gem, cherished by enthusiasts for its timeless elegance and still growing with recognition,
Corcovado (Quiet Nights Of Quiet Stars) (feat Astrud Gilberto) (3:00)
It Might As Well Be Spring (feat Astrud Gilberto) (4:23)
Eu E Voce (feat Astrud Gilberto) (2:34)
Summertime (4:51)
6-Nix-Pix-Flix (4:25)
Only Trust Your Heart (feat Astrud Gilberto) (4:26)
The Singing Song (3:40)
The Telephone Song (feat Astrud Gilberto) (2:03)
One Note Samba (feat Astrud Gilberto) (3:16)
Here's That Rainy Day (6:11)
Review: Recorded in 1964 at the great Café Au Go Go in Greenwich Village - just months after Astrud Gilberto’s 'Girl from Ipanema' became a Top Five pop hit - this live album from the Stan Getz Quartet in live euphony with the Brazilian vocal phenom marks a pivotal moment in both musicians’ careers. Steering away from her original, traditional Brazilian bossa nova, Gilberto embraced a North American jazz influence here. A young Gary Burton is heard on vibraphone, with Kenny Burrell also on guitar, Gene Cherico on bass, and Joe Hunt on drums - some further percussive substitutions by Helcio Milito (drums) and Chuck Israels (bass) appear in later sets. At the time, Astrud was not a professional singer, but she was asked to sing with Getz because her spouse, fellow bossa nova chanteur João Gilberto, was reluctant to sing in English.
Review: Here's a classic from The Oscar Peterson Trio - a coll-headed slice of traditional jazz from 1963 which is enjoying its 60th anniversary as the clock ticks over to 2023. It's an understated masterpiece, made up short performances written with commercial radio broadcast in mind, but even within tight time frames Peterson creates subtle, elegant movement which has rendered this record an enduring influence on successive generations of jazz musicians. Repressed on heavyweight wax and presented in a gatefold sleeve, it's sure to inspire a new wave of jazz artists as it gets a fresh airing.
Review: Phosphorescent is recognised as something of a key player in the current indie scene. Based right now in Nashville, Tennessee, he has been away for the best part of half a decade but now makes a sweet return much to the delight of fans and critics alike. Back in 2022 his covers album Full Moon Project showcased all of his most prominent inspirations and influences with versions of music by the likes of Bee Gees, Bob Dylan and Nina Simone. The self-taught producer and a constantly inquisitive creative now goes deep on new record Revelator which is "a meditation on all that he's learned about life and all that is still unknown".
Review: A 1957 release, and the third in a series of albums expanding on Bird's 10" Clef releases from the early 1950s, Now's The Time boasts some of Parker's purest recordings and strongest playing, featuring two different quartets. His lyrical and fluid improvisations on cuts like 'The Song Is You' and 'Laird Baird' are on full display, prime examples of his unmatched genius. Further delights include the original 'Cosmic Rays', a slow bop on which Parker's sax pops out like a virtuosic winged insect buzzing about its relatively quiet flower; and 'Chi Chi' which, by contrast, takes us by the ear and hurls us down an urbane but brisk sonic chute, its confident combination of rhythm section and Bird lead happily skipping away, but never stumbling.
Review: Verve/Universal Music Enterprises proudly introduces the 2024 Acoustic Sounds Series reissues, a monthly celebration of the world's most iconic jazz records. Mastered by Ryan K Smith at Sterling Sound from the original analog tapes, these 180-gram LPs are meticulously pressed at Quality Record Pressings. Each release features Stoughton Printing gatefold old-style tip-on jackets, ensuring a premium presentation. This series is expertly supervised by Chad Kassem, CEO of Acoustic Sounds. A standout in this collection is East Broadway Run Down, a heavyweight entry in Sonny Rollins' discography. Recorded in 1966 and released the following year by Impulse Records, this album marks Rollins' last project before his six-year hiatus due to industry pressures. The Acoustic Sounds Series seeks to deliver definitive audiophile-grade versions of these historic jazz records, blending top-tier mastering and production with superior packaging to satisfy discerning listeners.
Review: In April 1998, shortly after winning the Grammy for Best Latin Jazz Performance with their debut album Habana, Roy Hargrove's Crisol entered a studio in Guadalupe to record their second. Until now though, that album - Grande-Terre - has remained unreleased. Featuring a stellar lineup of Hargrove's longtime collaboratorsitrombonist Frank Lacy, pianist Larry Willis and drummer Willie Jones IIIiGrande-Terre captures the essence of Hargrove's dynamic playing and masterful compositions, showcasing the band's powerful synergy and distinctive Latin jazz style. Hargrove's sudden passing in 2018 leaves us to ponder what further accomplishments this innovative band might have achieved had they continued to evolve their groundbreaking approach. Grande-Terre not only highlights Hargrove's exceptional talent but also serves as a poignant reminder of what was lost with his untimely death.
Review: Pharoah Sanders recorded Thembi in the winter of 1970-71, amid sessions with Alice Coltrane that would culminate in her seminal Journey In Satchidananda album. The same profound spirituality that imbued Coltrane's masterpiece with an aura of serene majesty also permeates Thembi. One of the standout tracks, 'Astral Traveling,' originated from a serendipitous encounter with a Fender Rhodes electric piano. Upon arriving at the California studio, while his bandmates set up their instruments, Sanders noticed the piano and, driven by curiosity, began experimenting with its sounds. This track, with its ethereal quality and innovative use of the electric piano, captures the exploratory spirit and transcendent quality that define Thembi, making it a cornerstone of Sanders' discography and the blueprint to the serendipitous magic of musical experimentation. Thembi offers something very unique for the time in jazz music.
Review: Finally reissued for its 50th anniversary, Love In Us All is a cosmic, uncompromising statement from legendary jazz cat Pharoah Sanders. This vital piece of the free jazz canon was released as his final Impulse! album and starts with 'Love Is Everywhere' which radiates transcendent beauty with layered horns, cascading piano and a repeated vocal mantra evoking the spirit of Coltrane's seminal 'A Love Supreme'. The flip, For John' is raw, chaotic and a furious outpouring of free jazz energy. Long out of print but here remastered, this essential release showcases Sanders' vision in its most fearless, spiritual form.
Review: Pharaoh Sanders has many high-points in his illustrious career, but Black Unity is a truly special, long-form body of work stretching out over 37 minutes of mesmerising, sustained groove. Widely hailed by critics as one of Sanders' most revealing works, he's joined on the 1971 session by Marvin Peterson on trumpet, Carlos Garnett on flute and tenor sax, Joe Bonner on piano, Stanley Clarke and Cecil McBee on bass, Norman Connors and Billy Hart on drums and Lawrence Killian on percussion. Between them, the ensemble guide us through ebbs and flows of majestic power, all elements flowing into one another in a true expression of the unity Sanders spelt out in the title.
Review: Originally released in 1965, this landmark album of meditation features Scott's clarinet playing alongside Japanese musicians on koto and shakuhachi. Its tranquil and lucid sound has captivated artists and collectors globally, providing rich sampling by notable hip-hop and electronic music producers. This album's legacy lies in its ability to transcend time and genres, resonating with listeners seeking a sense of serenity and introspection. With the popularity of ambient continuing to rise and the importance of Japanese influence on electronic music being more and more prominent, this album becomes a more and more important guidepost in music.
Review: Shabaka Hutchings' Perceive Its Beauty is a profound and meditative musical journey that celebrates the richness and grace of African culture. Through a diverse ensemble of renowned musicians, Hutchings invites us to immerse ourselves in a sonic landscape that evokes the beauty and bounty of the Motherland. The album's meditative quality stems from the restraint and collective nature of its creation. The instruments seem to float effortlessly, creating a sonic cloud that carries echoes of Afro-Asian music and the tranquil sounds of nature. Yet, within this understated atmosphere, individual brilliance shines through. The artistry of Jason Moran on the piano and the ethereal voices of Moses Sumney and Eska add layers of nuance and emotional depth. In an era often marked by division and disharmony, Perceive Its Beauty offers a refuge of unity and peace. It invites us to transcend superficial boundaries and embrace the beauty and grace that resides within and around us.
Review: Composer and multi-instrumentalist Shabaka Hutchings releases his sophomore LP Perceive Its Beauty, Acknowledge Its Grace', building on his increasingly impressive career working with Andre 3000, Sun Ra Arkestra and heading multiple bands - not least the, now dissolved, The Comet is Coming. The album marks the king's return to music, following his abandonment of the saxophone in 2023. Here he returns to his original instrumental calling, the clarinet, but a wide array of wind is on offer. The first single, the opening track 'End of Innocence', is a succinct clarinet and piano marriage. The reverberation of the keys softly emanates behind the masterfully controlled clarinet lead, with perfectly placed percussion sprinkled throughout. It's introspective, serene and understated - a supremely narrative feel that only instrumental jazz can give off.
Review: Jazz saxophonist and playwright Archie Shepp was a cornerstone of what was considered 'avant-garde' jazz in his day. He was also a civil rights activist of implied yet huge proportions, having once accused the establishment of creating a "plantation of the mind". This also reflected in his music. Vocally critical of genre boundaries, 'Kwanza' exemplifies his stance, with the music contained on the record an upbeat and joyous yet foray through a kind of party jazz that, though it is fun, doesn't simply encourage you not to think about your predicament. Released five years after its original recording sessions, this is an important slice of history, well deserving of its reissue.
Review: An uncompromising statement in the landscape of free jazz and released in 1968, the album's title track is an 18-minute tour de force. A relentless exorcism of sound driven by Shepp's feverish tenor sax and an army of percussionists, including Beaver Harris, Norman Connor, Ed Blackwell, Frank Charles and Dennis Charles. The piece never loses momentum, a hypnotic Afro-rhythmic foundation over which Shepp's saxophone howls, growls and shrieks with raw, untamed fury. The arrival of Martin Banks and Michael Zwerin's trumpets in the final minutes momentarily grounds the chaos before it collapses in exhaustion. The additional tracks take a more traditional approach, contrasting the firestorm of the title piece. Yet, Magic of Ju-Ju remains a defining moment in Shepp's career, marking his transition into deeper explorations of African heritage, gospel, blues and contemporary r&b. The album's title, drawn from Vietnam-era GI slang, hints at Shepp's engagement with the social and political turbulence of the time. Reissued as part of the Verve By Request series on 180-gram vinyl, this is a vital milestone in Shepp's radical, boundary-pushing career.
Review: Nina Simone's 1964 album stands as a powerful testament to her unwavering support for the Civil Rights movement, marking one of her most personal and impactful releases during her time with Philips Records. The album captures Simone at her most fervent and fearless, channeling her artistry into a profound expression of social consciousness. Unlike some of her other works, where orchestration sometimes overshadowed her voice, this gem benefits from a minimalistic yet vibrant jazz quartet, which perfectly complements her bold vocal delivery. Tracks like 'Old Jim Crow,' 'Pirate Jenny,' 'Go Limp,' and the titular 'Mississippi Goddam' emerge as potent declarations of African-American pride and resistance, making this album a landmark in the intersection of music and activism. Simone also revisits more traditional material with grace, including her timeless rendition of 'I Loves You, Porgy' and the soulful 'Don't Smoke in Bed.' Verve's Acoustic Sounds series honors this historic album with a meticulously crafted vinyl reissue. Mastered from the original analog tapes and pressed on 180-gram vinyl, the album is packaged in a deluxe gatefold sleeve, offering an audiophile experience that preserves the integrity of Simone's revolutionary work.
The sixth full-length from the incomparable Nina Simone was originally released in 1966 via Phillips Records, and was predominantly comprised of several recordings left over from sessions over the two previous years. Considered by many to be the jazz/soul goddess' most seminal work; the album features some of her most timeless renditions and contributions such as 'Lilac Wine' (later covered by Jeff Buckley), 'Wild Is The Wind' (covered by David Bowie), her definitive version of 'Black Is The Color Of My True Love's Hair', as well as the somewhat controversial 'Four Women', which was banned by New York jazz radio station WLIB due to their ironic misinterpreting of her skewing of black female stereotypes as racist.
Review: The sixth full-length from the incomparable Nina Simone was originally released in 1966 via Phillips Records, and was predominantly comprised of several recordings left over from sessions over the two previous years. Considered by many to be the jazz/soul goddess' most seminal work; the album features some of her most timeless renditions and contributions such as 'Lilac Wine' (later covered by Jeff Buckley), 'Wild Is The Wind' (covered by David Bowie), her definitive version of 'Black Is The Color Of My True Love's Hair', as well as the somewhat controversial 'Four Women', which was banned by New York jazz radio station WLIB due to their ironic misinterpreting of her skewing of black female stereotypes as racist.
Review: Jimmy Smith's Root Down, recorded live in 1972, captures the Hammond B-3 legend at his funkiest, with a band fired up by the era's rock and funk influences. This album brims with energy, particularly on the title track, later sampled by the Beastie Boys for their own classic. Now part of Verve's Acoustic Sounds Series, Root Down returns on 180-gram vinyl, remastered from the original analogue tapes, complete with deluxe gatefold packaging. A timeless slice of soulful jazz, made for vinyl lovers and collectors alike.
Review: Jimmy Smith's The Cat, released in 1964, showcases his incredible command of the Hammond B-3, paired with lush big band arrangements by Lalo Schifrin. This album, which reached No. 12 on the Billboard 200, brings together blues-infused tracks that capture Smith's unique flair and groundbreaking style. Now part of Verve's Acoustic Sounds Series, The Cat is available on 180-gram vinyl, remastered from original analog tapes and presented in a deluxe gatefold. A classic reissue that celebrates the genius of one of jazz's most innovative organists.
Review: Sun Ra's musical legacy is a many-sided dice, but if there's one unanimous entry point into his astral adventure it is surely Space Is The Place. Originally transmitted to earth in 1973, this landmark record bursts with life from the opening strains of the title track in all its 20-plus-minute glory. It's no surprise it's come up for a repress via Verve's By Request series, given how essential it is to anyone's understanding of jazz at its most bold and brilliant. This is a record which transcends most typical definitions, breaking down barriers and showing what's possible if we just dare to dream.
They Don't See/Whole Foods (feat Aja Monet) (4:52)
Starting Over (3:33)
Enjoy The Ride (3:27)
Open To Thyself (4:40)
Am I Still New Orleans (feat Robert Glasper) (2:45)
Ghetto Earth (3:32)
Remember (feat Samara Joy & Robert Glasper) (3:58)
Little Things (feat Yaya Bey) (3:47)
You're In Way Over Your Head (feat Robert Glasper) (3:01)
Is It Me You're Calling (5:02)
Who Ha (feat J Ivy) (3:31)
Review: This exclusive double vinyl collection from Wagram brings together the greatest international hits of the naughties. It is a great four-sided collection that covers all of the most famous sounds and artists from the first decade of the 2000s and so is a great cop for anyone who likes to throw a good old nostalgic house party. Along the way are artists like O-Zone, Benny Benassi, Cascada, Vampire Weekend, Madcon, Las Ketchup, Bob Sinclar and more. There is no better way to relive the era's defining sounds than with this curated selection of memorable hits that shaped decades music culture.
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