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Review: The Advanced Cookbook Of Mr Selig And Kanzler Z was a short-lived experimental jazz act also known as Cookbook. They put out one EP and two albums, with this 12" being taken from the debut. It came in 1989 and German label the Zoo In You initially and has the vocals of Mr Selig on the A-side, and guitar by Wolfgang Bokelmann and words by Dieter Pougin on the flip. An original will cost you more than a night at the pub and even finding samples online can be hard. Rest assured it is future jazz that still sounds futuristic today.

Review: Reserved for Record Store Day comes this exciting new doublet from brilliant Brazilian jazz-funkers Azymuth, in the form of both an extended mix of their enduring major hit single from 1979, 'Jazz Carnival', and a fresh remix by Yambee, the duo of Ashley Beedle and Yam Who?. The original track was a rare slice of instrumental funk music, dare say instrumental music at all, to climb the UK charts and remain in its upper echelons for a solid twenty weeks. Though its initial popularity was lengthy, it has since then gone underground, becoming a throwback favourite of the likes of Kerri Chandler, Mr. Scruff and Gilles Peterson, to name but a few icons to play it back out over the years.

Review: Kalita Records are proud and honoured to announce the first ever official reissue of the four choice tracks from Randolph Baker's privately pressed sought-after 1982 disco album 'Reaching For The Stars', plus an unreleased instrumental take of 'Party Life' sourced from the original 24-track analogue master tapes.

Originally recorded at Jim Morris and Rick Miller's Tampa-based Morrisound Studios, 'Getting Next To You' features both a mixture of both local Florida talent plus jazz superstar Nat Adderley and bassist John Lamb at their finest. Originally pressed in a limited run of just one-thousand copies, with no distribution and most copies being sold in the local city and on Randolph's own merchandise table at the back of live gigs, original copies have long been sought-after by both collectors and DJs alike, acknowledged as a true grail and masterpiece in the disco scene and deservedly demanding extortionate figures to those lucky enough to find their own.

Here, in collaboration with Randolph, Kalita Records have chosen to re-release the four choice tracks from the album: 'Getting Next To You', 'Jazzman', 'Callin' Me' and 'Party Life'. The former is an in-demand horn and chant-filled disco masterpiece, which, as Randolph explains, concerns unity and "everyone on the same level in other words, everyone just loving life". It is arguably the song that Randolph is most well-known for in the disco and funk scene and perfect for the modern discerning dance floor. 'Jazzman' is an instrumental track with prominent trumpet and saxophone solos working with funky basslines to produce a truly great jazz-funk groove. It was "a tribute to Nat Adderley and Duke Ellington's bass player, John Lamb, for being so generous and saying yes to the project". 'Callin' Me' is a soulful disco number featuring the lead vocals of Laurie Erickson and is "about being on the road and ensuring loved ones that you will always come back home no matter what. It was like a promise to ensure loved ones they didn't have to worry". Lastly, 'Party Life' is a joyous disco track with a strong funk bassline and horns. As Randolph recalls, it "was the joy like after an actor finishes a movie. There was nothing but joy. It's finished; let's celebrate big time. Where everyone in the studio yelled at the top of their lungs - The End!" Here, with access to the 24-track master tapes we have been able to include the original version plus an unreleased instrumental take, allowing us to focus on the infectious bassline and make it even more ready for the modern dance floor.

Accompanied by extensive interview-based liner notes and never-before-seen photos.

Review: The latest release on ever-crucial French jazz outpost Heavenly Sweetness welcomes the work of Bardainne Jaumet, a collaboration between accomplished French saxophonist Laurent Bardainne and Versatile regular Etienne Jaumet for four musically rich excursions into cosmic disco, Library music and the golden age of European synthesiser exploration. This is perhaps not what you might expect from the pairing of these two artists, or indeed the label, but the sheer compositional power and production of these two is simply undeniable. Grandiose statement pieces from two incredibly talented minds meeting on the same astral plane with a well-appointed studio as a vessel.

Review: "The dampness of the rainforest, the hostility of the mangrove ultimately did not suit him. So he left his natural environment for the tranquillity of a freshwater body". So goes the (translated) back story of this new EP from Laurent Bardainne. The 'he' in question is a Tiger who ventured across Europe, Asia and America and apparently picked up various musical styles along the way. Whatever you make of that, the tracks here are gold: "Marvin" is smooth jazz fusion with percolating drums, "Porsche 944" has a joyous lead sax and more crisp boom bap drums, while "Aout" is a soaring bit of heartfelt soul Daptone might put out. The Drop Vibes rework of "Porsche 944" features a vocal roller and closes things in fine fashion.

Review: Stevie Wonder's 'Pastime Paradise' has thus far been less recognised as an original soul wonderwork, and more so as a sample by American rapper Coolio on the derivative 'Gangster's Paradise'. Though still having been covered by many artists over the years, Major Keys records highlights this enduring 1981 cover of Wonder's 'Paradise' by Latin percussionist Ray Barretto as among their favourites, if not their absolute favourite. Now the label reissue the gem, flaunting its up-to-date, nigh timeless feel; it's the opposite of a miracle that this has never before been released on a 12" single record, despite the fact that it is a favourite on the floors of jazz and soul rooms the world over. It also flips it with Barretto's own 'La Cuna' and 'Mambotango', taken from the same 1981 LP.

Review: Dream was a Norwegian psyche rock outfit that saw plenty of success before disbanding in the latter part of the 1960s. From the ashes of that group, Christian Reim set out with a new project with another group, Bash. After years of exploring pop and rock he carried on down that path but with more and more of a love of jazz. The band had a fine line up of jazz talents and this live recording from Club7 in 1973 is them at their peak of their powers with lots of crowd noise adding to the atmosphere alongside several surprise interjections that bring it further to life.

Review: The Demon Singles Club has been digging deep again and this time they have unearthed a trio of delights from Travis Biggs. Biggs played the keys with Isaac Hayes towards the end of the 70s when Hayes was playing with disco sound. During that same era, Biggs went it alone on a pair synth laced and spaced out albums 1976's Challenge, on TB&C, and 1979's Solar Funk, on MCA subsidiary Source. The trio of cuts on this 12" come from the latter of those two - one of them will be particularly recognisable to J Dilla fans for the famous beatmaker sampled it quite famously.

Review: Here's a killer reissue from the Soul Jazz archives which is finally getting a repress. It's hardly surprising when the reissue becomes as sought after as the holy grail original jam from 1970, a sublime instrumental anthem of soulful, skanking perfection with Cedric Im Brooks flexing his sax in glorious style over a beautifully rough n' ready rhythm. It was shortly after this recording was laid down Brooks went on to form The Mystic Revelation of Rastafari with Count Ossie, which tells you all you need to know about the heritage we're dealing with here.

Review: Ten Lovers always manage to find a perfect sweet spot between jazz and house on the music it serves up. This new various artists' effort proves the point well: Marcello Cassanelli lunches the trip with groovy and nodding bass synths and airy vocal cries on 'Fantasia.' Zarenzeit then sinks into a bubbly groove with killer drums and sun-worshiping synths before Stefano De Santis drops some excellent broken beast on his squelchy synth workout 'Song For George D.' Future Jazz Ensemble takeoff into the cosmos and Caruso gets romantic on 'Vestimenta'.

Review: People of Earth shakes things up for #016 with a limited 12" from Charolastra entitled Karuna. Only 200 copies pressed of this continuous play, crossover jazz release. Brought to the realization with some of ATLANTA's most talented instrumentalists. It is an amalgamation of genres but the underlying emotions are immediately recognizable. Grief, loss, regret and the transcendental power of the spirit to overcome these hardships. Blending elements of jazz, IDM, broken beat, drone, and dub, while it may be difficult to put your finger on Karuna it doesn't make it any less enjoyable.

Review: Nicola Conte and Gianluca Petrella follow up last year's beautiful "African Spirits / New World Shuffle" with two more lavish instrumentals. "Sun Song" lives up to its name with wave after wave of heated musicianship from the belting harmonies to the light-touch keys. "Nigeria" taps deep into the source too as it drives us through the heart of Lagos with full horns and sweeping keys. Spiritual, sun-splashed and vital.

Review: Soul Jazz Records' new must-have compilation "Kaleidoscope" does a great job in celebrating the vibrancy of the UK's fast-growing contemporary jazz scene. For some reason the vinyl version of the release omits the two tracks featured here, hence the label offering them up on a limited-edition 12" single that they say will never be repressed or reissued. The A-side features Sons of Kemet member (and renowned tubist/trombonist) Theon Cross's "Candace of Meroe", a bustling affair that riffs on the polyrhythmic Afrobeat sound of Tony Allen and Fela Kuti whilst taking it in a decidedly jazzier new direction. Over on the flip psychedelically inclined duo Pokus delivers "Pokus 1", a wonderfully low-slung and spaced-out affair that adds mind-altering, mutilated electric piano motifs to a deliciously weighty, low-slung groove.

Review: .with a feelgood charm that has resonated not only with jazz heads, but also the youngest generation thanks to its inclusion in the soundtrack to the magnificent Sing animation. It is one of those that will always get a good reaction and is always worth having in the collection. Here it's served up on a 180 gram vinyl 12" with the more noodling 'Blue Rondo A La Turk' and a vocal version of 'Take Five' with Carmen McRae bringing the soul.

Review: Melodies International is a real favourite label here at Juno HQ, headed up famously by Floating Points and finds including Mafalda. The third volume of their Melodies record Club is as good as anything the label has put out to date: it features a trio of jazz cuts selected by the one and only Hunee. First is Digital Justice's 'Theme From "It's All Gone Pearshaped"', a 13 minute live jam packed with synth action. On the flip is a spiritual piece from harpist Dorothy Ashby and Frantz Tuernal's 'Koultans'. Says Hunee, "these three distinct pieces of music tap into different layers of my memory."

Review: Earlier this year, French disco and jazz-funk combo Chatobaron joined forces with fellow Parisian Dimitri From Paris for the rather good 'I Like (The Music That You Play)'. While that was a wholehearted disco workout, this speedy sequel sees the band (and their high-profile collaborator) explore their West Coast jazz-funk influences via an inspired workout full to bursting with killer instrumental solos, dusty grooves, memorable motifs and a genuinely killer, cowbell-sporting percussion brerak. This time round, there are no Dimitri From Paris remixes; instead, dubbed-out disco favourites the Idjut Boys are on hand to smother the track in tape echo and dub delay. The result is a typically spaced-out, low-slung affair that naturally makes the most of the band's killer bassline and layered percussion sounds.

Review: Reissued by Before I Die after being singled out as a choice cut from a recent Swedish library music compilation, 'UFO' is a cosmic funk jam by one lesser-cited duo known as Falk & Klou. This being their only collaboration, the fused efforts of Carl Johan Fogelklou and Fredrik Segerfalk make for an otherworldly experience, with lasery sound FX and a strange narration complementing this toothy electro-funk oddball. The remix by Andi Henley (Ruf Kutz) on the A-side cements the track's importance.

Review: Ferg Ireland is back with his heavy trio of jazz cats for a second sizzling record drop. Ireland himself is on bass, Nathaniel Facey is on sax, and James Maddren plays the drums as the group emulates trios like those of Sonny Rollins. This is busy, bluesy jazz that was all record live in one take. The tunes bubble and boil with spontaneity, the vibes are real and raw and it all adds up to one helluva involving sound. 'When You Know' is stately and serene, 'Mel's Mood' is unrelenting and 'Lips' is the more seductive offering to round things out.

Review: Future Jazz Ensemble is a project from Italian producer Nicola Penna, aka Nasty Boy, who has also recorded for Sahko Records and ANMA. Aside from some self-released records, this is the first official offering from the project which offers a noirish sound nodding to nu-jazz in in its subtle assimilation of electronic processes into a jazz context. Skittering drum machine patterns collide with snatches of instrumentation, with noirish Rhodes chords as a common thread binding everything together into a moody, musically dexterous whole. If you cherish fresh approaches which hold true to the roots of jazz culture, you're sure to love this record.

Review: The Artless Cuckoo label has done a fine job of showcasing the work of lesser-known German outfit Ghia his year by releasing an album of rediscovered 1980s recordings as well as a special 7". Now Thank You has put together this 12" package with three different versions of 'Don't Leave Me Alone.' The original dropped in 1987 and was an instant euro-pop classic. An OG copy on wax is tough to find these days so often fetches three figures. Soon as you hear the tune though you know why - it's effortlessly catchy with mounting tension and super creative vocals.

Review: Matthew Halsall's Gondwana label is seeing a busy August what with the imprint flooding our jazz charts with reissues and, of course, new releases such as this wonderful collaborative effort from The Gondwana Orchestra and Dwight Trible. Trible's voice is like silk, running up and down the delicate waves of melodies from the collective, with "Colors" and "The Creator Has A Master Plan" both capable of making the toughest of audiences feel utterly uplifted. On the flip, "Love Is Everywhere" shines bright amid a flurry of flutes and intricate drum percussions, while "You've Got To Have Freedom" rides off a much smoother, deeper sort of vibe that's got a little funk at its core. Wicked.

Review: Reissued on Gondwana after an unexpected sea-change, Matthew Halsall's Bright Sparkling Light was originally conceived as a tour-only exclusive, its three exquisites, averaging seven to ten minutes per suite, serving only the most loyal and dedicated of fans eager enough to clasp their mitts around the limited edition at the time of his EU and UK tour in October-November 2023. Now, its rarefied airs get dropped; so too do the folk scramble to lend it a second listen, discovering Halsall's preference for hypnotic drones, tenor sax progressions crafted around lush flute loops, and portrayals of the artist's favourite rural location: Newborough Forest, both at daytime and nighttime. 'The Tide And The Moon' is the closing highlight, nicely closing the gap between dewey morning and crept-in crepuscule.

Review: Matthew Halsall initially crafted Bright Sparkling Light as an exclusive for his 2023 EU and UK tour. He then decided to put it out on vinyl and has now put together this special Japanese Edition which features its three exquisite suites, each averaging seven to ten minutes. Halsall's affinity for hypnotic drones, tenor sax progressions intertwined with lush flute loops and evocative depictions of Newborough Forest shine through here on an album that beautifully bridges the transition from dewy morning to creeping crepuscule. It's a natural, organic soundtrack from one of jazz finest contemporary talents.

Review: The cult Melodies International label run by Floating Points and Mafalda starts a new series here. Melodies Record Club will find each curated by a different guest DJ or producer with the first one selected by the always on point Kieran Hebden aka Four Tet. He picks some of the tracks he used to spin at the legendary Plastic People and first up is an extended version of 1975 tune 'De I Comahlee Ah' by jazz stars Jackie McLean and Michael Carvin. Chris McGregor's Brotherhood Of Breath takes care of the flip with the big band energy and excellent horn work of 'MRA.'

Review: 'Maledetta Quella Notte' is the first EP by Il Mago del Gelato, a new band from Milan (IT) with a strong Mediterranean imprint. This first album of theirs runs through funk, afrobeat and jazz; all the divergent strands make up the project, later convergent and blending in a nigh-perfect balance. Warm, watery, jazz-futuristic and easy on the ears, it's all held together by the uniquely Milanese fusion of vocoder, percussion, 80s synths, and roots guitars.

Review: Oluko Imo is a legendary figure in Yoruba mythology as well as being revered as one of the progenitors of the Yoruba people. He is believed to be a descendant of Oduduwa, the mythical founder and first king of the Yoruba people, but it's also the name of a Trinidadian musician who blends calypso heritage with Afrobeat and jazz from Nigeria. He recorded his iconic album between Lagos and New York in 1988 and it has long been a cult classic. This reissue features the title track from it - a deep cut and steamy rhythm, and 'Were Oju Le (Eyes Are Getting Red)', a horn led Afro-funk workout.

Review: Pete Cunningham's hybrid electronic/acoustic jazz collective Ishmael Ensemble has been right at the forefront of innovation when it comes to those sounds. For his latest project he links up with lyricist and MC Rider Shafique. They first met some six years ago when Cunningham was struck by "his powerful way with words." As such they got in the studio, Cunningham embraced a more bass heavy sound to his style and drew on his love of the likes of dub kings King Tubby and Adrian Sherwood. Coupled with Rider's voice and you have a superb new record.

Review: Some expansive, cinematic, orchestral spiritual jazz for you here, from the trio of talents that Fumio Itabashi, Kuniyiki and Henrik Schwarz. While the latter two are generally better-known for their deep and sometimes tech-tinged house and ambient productions, the original mix of 'Watarese' (featured here on side B) is a dense, immersive jazz soundscape laden with evocative Japanese vocals, improvised piano, moody orchestration and definite nods towards vintage free-jazz. Spiritual Life supremo Joaquin 'Joe' Clausell provides the remix and, somewhat predictably, steals the show. His take is gently rhythmic, sun-splashed spiritual jazz full of hand percussion, fluid piano motifs and rubbery double bass.

Review: Jazz N Palms turn out another of their standout re-edit EPs here and the sixth in the series is no less special than the previous five. As ever, the MO is that the London collective offers tidy revisions of all a wide range of jazz and jazz-funk obscurities. This one kicks off with a Bob James style jam full of instrumental funk and then goes on to the glossy samba rhythms and woodblock hits of 'Santa Ana.' There are more languorous sounds on the stretched out solos of 'El Sabe' then the pace picks up for the energetic shuffles of 'El Sabe.' Last but not least is 'Exotic Flavour,' a freeform cut with wandering bass and steamy sax lines.