Review: Lisa Decker makes a return with two new singles here that are taken from her upcoming album which is due in May of this year. It comes two years after her debut with the Japanese jazz trio Nautilus and marks something of a conceptual shift in her sound. 'Love & Hope' finds her turn in a stylish jazz vocal with funky bass loops and organic drums and percussion that straddle many different genres. 'Summer Child' then sinks into a nice smooth jazz-funk vibe with soft focus chords bringing a touch of class to her breezy vocals.
Review: The Albina Music Trust aims to amplify Portland's musical past by working with underrepresented soul musicians, one such artist being 23-year-old drummer, composer and educator Domo Branch. Branch has come up through the ranks of the American Music Program - a crucial proving ground for Portland's jazz musicians - and now lives in Manhattan, performing with the Jazz at Lincoln Center Orchestra under the direction of Wynton Marsalis. Sparse and minimalist in its ingredients it may seem superficially, but closer investigation reveals there's polyrhythmic power and heaps of unpredictable expression in his free improvisation.
Review: The Doug Carn Trio's self-titled debut, originally released in 1969 on Savoy, makes a long-awaited return with this limited reissue. As the star of Black Jazz Records, Doug Carn's groundbreaking blend of spiritual jazz and avant-garde influences is showcased here in its purest form. This all-analogue reissue, pressed at Gotta Groove Records, faithfully preserves the essence of the original recording with minimal high-frequency loss. It features a groovy rendition of Gus Cannon's 'Walk Right In' and original compositions like 'Butter from the Duck' and 'Yna Yna's Delight,' demonstrating Carn's innovative approach to the organ trio format. The package also includes an insert with new liner notes by Aaron Cohen, drawing on an exclusive interview with Doug Carn.
Review: Miami's Far Produce are fresh faces, but their sound is full of respect for times past, building on classic soul jazz by bringing it a modern instrumental twist. Led by two Studio City, CA natives - Addison Rifkind on guitar and Michael Duffy on drums - Fat Produce deliver a veritable cornucopia of fruits and groceries to chew on here. 7" A-sider 'Sticky Beets' turns our inners red, as we're led to imagine chowing down on the perfect beetroot yield and the funky euphoria that inevitably follows ingestion of such a delicacy. B-sider 'Son!', meanwhile, draws on an amalgamation of several Bay Area-inspired grooves - Duffy is a walking rhythmic encyclopaedia - set against an improvised, on-the-fly groove first laid down by Rifkind, whose hook-worthiness is unmistakable here.
Review: A stunning album of big band music from Finnish composer, Kerkko Koskinen, featuring Linda Fredriksson on saxophone and the UMO Helskinki Jazz Orchestra, Agatha 2 is a sequel of sorts to their original Agatha album released in 2007. Tracing Koskinen's signature immensely emotive and dramatic approach to composition, this album sits beautifully between moody atmospheres and fully immersive rushes of cinematic sound. It is clear that Fredrikkson and Koskinen share a clear vision with her solo performances shining against the undulating orchestral backdrop. Taking on a distinctly melancholic and nostalgic mood, especially with the pieces 'Promenade' and 'Piana', the drums are positioned at a purposeful distance to the driving dynamics of the composition, adding a hint of melodic colour to the overall piece rather than being a central force. An inventive project that journeys forwards and backwards in time.
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: Jazz doesn't come much more wildy expressive, idiosyncratic, off the cuff, challenging and dense that this album from 1977. The Human Arts Ensemble came together in 1970 in St. Louis adn was a loose collective that associated themselves with the Association for the Advancement of Creative Musicians (AACM) and the Black Artists' Group (BAG) collective. They had no rues and no restrictions on who could play and it shows as different instrments shoulder their way to the front and vie for attention, from the drums to the keys, the sax to the double bass. This reissue features the original artwork as well as all new remastered audio and fresh liner notes by Howard Mandel that provide great context.
Review: Detroit label and weekly party Funk Night rolls out another unmissable 7" here in the form of The Oscillators, who bring a late night and woozy sound to lo-fi production aesthetics. 'The Scoop' is a slow motion and psychedelic tinged groove with squealing guitar leads taking you into melon twisting territory while the flutes keep things in the here and now and the dusty drums rumble on. It is truly intense. 'Spare Cheeks' then has a more upbeat funk feel led by nice horns and a more silky and seductive groove, particularly the lithe bass.
Review: After years of collaboration on ECM recordings, including Characters On A Wall, French clarinettist Louis Sclavis and pianist Benjamin Moussay now present a collaborative album, Unfolding. With a program of original compositions, of which two-thirds are by Moussay and the rest by Sclavis, they create an intimate and chamber-like dialogue where lyrical moments and playful inventiveness collide. Their improvisations flow patiently and explore each theme with a rare creativity. This warm, exploratory approach highlights the depth of their musical connection, and it was all recorded at Studios La Buissonne in Southern France in March 2024.
Review: Tomislav Simovic was among the most significant musical masters to emerge in post-World War II Yugoslavia. The Croatian artist was a member of several jazz bands over the years, is considered a pioneer of southern European electronic music, a highly respected musical theorist, commentator, and all-round visionary. During his lifetime, he would score 300 films, many of which are lost to the sands of time, and those that did survived, or were recreated by new artists, are considered examples of soundtrack as art. Few answer that call better than this previously unreleased collection of 18 short animated films from the Zagreb school, which positioned itself as an artistic institution concerned with presenting philosophical world views and changing the course of animated history. Simovic's work, even without the visuals, conveys this brilliantly, with a mixture of whimsy, comedy, contemporary songwriting, and grand arrangements.
Review: This hefty collaborative album sees Empirical founding member and skilled vibes man Lewis Wright join forces with two flight New York musicians Matt Brewer on double bass and Marcus Gilmore on drums. They cook up tight, exceptionally well performed tunes that have a title which describe how the music was composed. It's an album of improv lead by emotions and gut feelings rather than technique first and foremost. Bar closer 'Brilliant Corners' a tune by Thelonious Monk, these are all original compositions and all excellent.
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