Review: After a wild shelf-clearer came by way of a reissue of 'Ordinary Joe' earlier this year, we've now a second Outta Sight reissue of yet another gladly intoned Terry Callier deep cut on our hands. Born and raised in Chicago's Cabrini-Green, Callier came up alongside a generation of soul and jazz innovators but always stood apart. After his debut LP The New Folk Sound fell into obscurity, and his 1968 Cadet single 'Look At Me Now' slipped past unnoticed, he was brought into his mentor Jerry Butler's Songwriters Workshop, a game-changing move. This stirring early statement works in much inner commentary on manhood, stage fright and vital moment seizure - "now my people think I just fake it / I know I do things they don't understand / so I've got to show them I can take it / I've got to show 'em I can be a man" - aches with the strain of double consciousness in a performance society.
Review: Continuing their mission to retrouve genres across the spectrums of Latin funk and cumbia, Original Gravity welcome back founding favourites Luchito and Nestor Alvarez with yet another sonic vitamin D pill, presaging the warmer days to soon come. Both sides tap into that rich 60s and 70s Afro-Carib crossover sound, with, at least on the face of it, no studio trickery in earshot (though careful listens reveal the method behind the majesty). Anyone with a weakness for brass-led Latin burner will melt on contact with this one.
Review: Best known to many as Brett Domino from 8 Out of 10 Cats Does Countdown and all round internet keytar cover verion fame, Rob J Madin steps out from his comedy roots with a fresh suite of instrumental jazz-funk recorded mostly in his Sheffield attic. Drawing from the energy of artists like BadBadNotGood and Mildlife, the new six-track EP blends silky keys, warped synths, and choppy drum samples into a head-nodding, sun-drenched mod soul anthem set. 'Callisto Disco' veers over brash momenta, while 'Cherryade' leans back towards a laid-back optimism, not to mention the opener 'Bouquet Garni', which prophesies restless singalong hums by the never-forgetting listener.
Review: UK mambo kinds Orchestra Mambo International share their second single for ATA Records, both on digital and vinyl formats once more. After a dazzling debut single for the label back in May 2024, 'Balia Mi Cha Cha' is a funky cha cha number driven forth by the songwriting of bandleader and trombonist Jonny Enright, backed up by vibraphone from John Settle and lead vocals from Venezuelan singer Carlos "Pachanga" PeNa. The B-side, meanwhile, is a mambo instrumental entitled 'Bajo Con Vibes' ('Bass With Vibes'), which riffs on the double metonymy of the word "vibes" and plays up to a fantastically warm bass sound, providing a proper aural rung onto which central part of the track the listener may latch themselves and become thus enthralled.
Review: A striking departure from the classic piano-bass-drums format, this 1962 session brings together a rare quintet configuration, weaving trumpet and guitar into the fabric of post-bop elegance all based around New Jersey-born pianist Evans. The interplay is both literal and musical between the musicians. With trumpet lines that alternate between burnished lyricism and bursts of fire and guitar passages that glide with subtle precision, the ensemble creates a sound that is both spacious and tightly knit. The repertoire leans into standards, yet each tune is rendered with a fresh rhythmic spark and harmonic sophistication. 'I'll Never Smile Again' shimmers with wistful melancholy, while 'When You Wish Upon a Star' is recast with a gentle yet cerebral charm. Fans of more intimate trio settings might initially find the added instrumentation unfamiliar, but there's an undeniable allure in the expanded sonic palette. The drummer drives the group with crisp energy while the bassist anchors with subtle authority and the collective chemistry elevates the session beyond typical quintet fare. This is a bold, beautiful detour in the legacy of modern jazz and one that rewards the listener. A reissue worth revisiting, or discovering anew.
Review: Don Blackman's 1982 self-titled debut is an underrated jazz-funk gem that fuses soul, funk and jazz-fusion into a sophisticated groove-laden journey that was produced by Dave Grusin and Larry Rosen for GRP Records. The album showcases Blackman's keyboard wizardry and soulful vocals across standout tracks like 'Heart's Desire' and 'Holding You Loving You.' With playful cuts like 'Yabba Dabba Doo,' it balances polish with joyful experimentation and though not a commercial hit, its influence has quietly grown and ir has been sampled by hip-hop greats and revered by collectors alike. This reissue reaffirms its status as a cult classic and a crucial slice of 80s funk.
Review: Clifford Jordan's dynamic live set At Condon's was originally recorded in 1990 and is now reissued on vinyl for the first time. The tenor saxophonist's deep, bluesy tone shines through in this 16-piece big band setting and it has been captured by Maple Shade Records' audiophile-grade production. The session features standout performances from jazz luminaries like Dizzy Reece, Benny Powell and Junior Cook with classics like Ellington's 'Don't Get Around Much Anymore,' Gillespie's 'I Waited for You' and Jordan's 'Third Avenue' all adding up to an album that is a thrilling document of late-era brilliance. Jordan was truly spiritual jazz innovator and one of the most expressive saxophonists of his time.
B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition
Will You Still Be Mine? (6:22)
I See Your Face Before Me (4:44)
I Didn't (6:05)
A Gal In Calico (5:17)
A Night In Tunisia (7:22)
Green Haze (5:51)
Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***
This early gem - in fact, it was the maestro's first ever 12" record - shows a masterful command of space and melody, spotlighting a warm, muted trumpet tone alongside a pared-down ensemble. Without a saxophone, the spotlight remains squarely on the lead, providing ample room for expansive solos and lyrical interpretations. Anchored by a stellar rhythm section featuring a buoyant bassist, impeccable pianist and dynamic drummer, the performances exude a relaxed yet precise energy. Highlights include a fresh, distinctive take on the Dizzy Gillespie classic 'A Night in Tunisia', where the group reimagines the piece with effortless ingenuity. Original compositions add further depth, with a witty riposte to a well-known standard and a contemplative piece that lingers in the listener's mind. A transitional moment for one of the all time greats, hinting at the greatness to come all the way back in 1955.
Review: Recorded in collaboration with Nils Frahm at Berlin's Leiter Studio, Ganavya's fourth album is destined to carve its own path to recognition due to its unique quality. A follow-up to last year's acclaimed Daughter of a Temple, which drew praise from many music outlets, Nilam - probably best known her for her appearance alongside Sault at their recent live show - continues her journey into music as devotion, meditation and memory. Born in New York and raised in Tamil Nadu, she moves fluidly between traditions, channeling pilgrimage trails, harikatha storytelling and jazz improvisation into something uniquely her own. Her voice is unhurried, intimate and full of clarity, conjuring stillness even in motion. It's a sound that invites stillness but never feels static, where every breath carries the weight of generations and each silence says as much as her lyrics. The songs on Nilam feel distilled from years of lived experience, shaped by years of live performance as tracks like 'Sees Fire' blend Eastern tonalities with meditative jazz, fusing introspection with emotional firepower. The album traces the patterns of gratitude, loss and rootedness meanwhile anchoring the listener in a place beyond the physical. Rather than chase genre, ganavya reaches toward essence. Nilam isn't just an album, it's a moment held in reverence. A sonic altar where memory, spirit and sound meet. In her hands, song becomes a ritual of listening.
Review: Some 13 years have now passed since Mississippi Records started reissuing private press albums by Emahoy Tsege Mariam Gebru, an Ethiopian Orthodox nun, pianist and composer whose naturally religious-inspired works frequently took spiritual music to fascinating new places. Here the label turns its attention to 1972's Church of Kidane Mehret, notable not only for being recorded live in various churches across Jerusalem, but also for the use of harmonium and pipe organ as well as Emehoy's beloved piano. The original album, which in line with her other album features intricate and mood-enhancing solo translations of orthodox liturgies, has here been expanded via the inclusion of two further piano pieces from 1963's ultra-rare Der Sang Des Reeres - a set of which only 50 copies were ever produced.
Review: Emahoy Tsege Mariam Gebru's deeply spiritual music has long remained a hidden gem and this release offers a rare chance to experience her most poignant works. Recorded in churches across Jerusalem, her performances on piano, harmonium and pipe organ transcend genre that blends Ethiopian Orthodox liturgy with the technical sophistication of her classical training. There's a serenity to these pieces, particularly in 'Ave Maria,' where her piano's crystalline chimes fill the sacred spaces, while 'Spring Ode - Meskerem' brings new life to familiar melodies, played through the rich drones of the harmonium. The collection moves from meditative to dramatic, with 'Essay on Mahlet' offering a slow, introspective journey as Emahoy translates the free verse of Orthodox liturgy into a delicate piano composition. The inclusion of 'The Storm' provides a moment of intense contrast, its stormy narrative unfolding through sharp, thunderous piano lines. Emahoy's ability to blend devotional themes with emotional depth is most apparent in 'Via Dolorosa,' where the music mirrors the weight of the stations of the cross with breathtaking gravity. Her music, though niche, stands out for its seamless fusion of Ethiopian spirituality with the grand traditions of Western classical music, feeling entirely distinct in its expression. The recordings, originally made in 1972, show a stark simplicity and restrained power that speaks directly to the soul. It's a rare treasure and an essential contribution to the world of spiritual music.
Review: Mississippi Recs provide yet another delta stream's worth of Ethio musics by nun and composer Emahoy Tsege Mariam Gebru, presenting a remarkable body of work shaped by faith, solitude, and a deep reverence for sound. First self-released in 1972 and now enlarged over two formerly unheard piano pieces, this new curatorial crimp reveals Emahoy's profound engagement with the liturgical traditions of the Ethiopian Orthodox Church: all laid to record across sacred spaces in Jerusalem, they hear her play piano, harmonium and organ, with tactful piano fingers assuring a chiming touch on 'Ave Maria' and 'Essay on Mahlet', both religious chants heard to echo against ancient stone. Also inside are two compositions from the near-lost album Der Sang Des Meeres (1963), salvaged from obscurity and restored here with equal reverence.
Review: Billie Holiday's late career 1958 LP through Verve Records caught the legendary singer at a relatively intimate stage: substance abuse compounded financial difficulties, which imposed a toll on her already turbulent personal life, and Holiday's once-pure, all-powerful voice was showing signs of wear. A title like All Or Nothing At All would certainly seem to express the captive intensity of an industry that "breaks" artists in more ways than one, and despite the mixed reviews on release, this small combo-backed record is of one artist's broken but still functioning sensitivity. With Harry "Sweets" Edison and saxophonist Ben Webster, Holiday croons over 12 tracks, recorded over five sessions in 1956 and 1957, showcasing a more restrained vocal style that pierces clearly through and despite pharyngeal ills.
Black Market/Running The Dara Down (part 2) (10:02)
Sightseeing (7:45)
Cocktail/Walk Tall/Agharta (10:34)
Dream Clock (6:28)
Abstraction (3:08)
Can It Be Done (4:26)
Badia/Boogie Woogie Waltz (5:19)
Fast City (6:39)
Domino Theory (7:45)
Face On The Barroom Floor (3:59)
Review: Luniwaz LIVE is the sound of Scott Kinsey paying tribute to Joe Zawinul and Weather Report, not by basic imitation, but through fearless reinvention. The album was recorded live in Prague and brings Zawinul's spirit to life with raw energy and deep improvisation alongside Kinsey's seasoned rhythm section. As part of that, Hadrien Feraud and Gergo Borlai join forces with rising saxophonist Patrick Bartley Jr to blend jazz mastery with modern flair alongside guest appearances from Pedro Martins, Meredith Salimbeni and Bobby Thomas Jr, who further elevate the sound. Far from an exercise in nostalgia, this is a great reimagining of a jazz legacy.
Review: Originally released in 1987, this album featured Level 42 at their commercial and creative peak, blending pop, funk and jazz with impeccable musicianship and slick production. Now reissued on striking red vinyl, this album, their seventh at the time, remains an important piece to the band's signature sound and their ability to craft infectious, sophisticated pop. At the heart of the album are its massive singles. 'Lessons in Love' is a timeless pop-funk anthem, driven by Mark King's signature slap bass and soaring melodies. The title track, 'Running In The Family', combines a polished groove with reflective, autobiographical lyrics, while 'Children Say' has become a cult favorite for its smooth, atmospheric quality. On the softer side, 'It's Over' is a beautifully crafted ballad. The album's production is sleek and radio-ready, yet it never sacrifices the band's instrumental virtuosity. From the intricate basslines to the jazz-infused keyboard work, Running In The Family strikes a perfect balance between complexity and accessibility. This reissue not only highlights Level 42's most successful era but also serves as a reminder of their unique ability to fuse technical skill with mainstream appeal and nearly 40 years on it sounds as fresh as ever.
Review: A storied 1973 appearance by The Mahavishnu Orchestra at Yale University stands as a cult moment in the band's early live history. With their original and most explosive lineup heard intact here - John McLaughlin, Han Hammer, Jerry Goodman, Rick Laird, Billy Cobham - the concert captured the simple but complex precision that made their fusion of Indian classical, jazz improvisation and psychedelic rock so electrifying. McLaughlin led the charge on double-neck guitar, while the rest charged through various bass, violin and keyboard katabases with gusto. Remembered not just for its technical firepower but for the sheer spiritual intensity the band brought to academic surroundings, the record has a unique selling point for its collision of conservatory rigour and cosmic abandon.
Review: Wedged between the high points of Brilliant Corners and Monk's Music, Thelonious Monk's fourth Riverside outing marks a quieter yet pivotal chapter in his discog. Recorded in 1957, a transformative year for Monk, it hears the pianist almost entirely alone at the keyboard, chancing a rare but studious view into his inner compositional world. This session packs a deeply felt solo reading of ''Round Midnight', one of his most enduring pieces, not to mention the cloistered but still group-recorded cut 'Monk's Mood'; the latter track holds special historic significance, as it marks the first recorded appearance of John Coltrane with Monk, alongside unbeaten bassist Wilbur Ware. Though less boisterous than its neighbouring releases, this session reveals Monk in the away-with midsts of a rare creative "zone": distilled, raw, and searching.
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