Review: For five years, Acid Jazz has been showcasing Kevin Fingier's productions with each one carrying his signature Latin flair. It all began with 'Latin Dynamite', which sold out 15 days before its release and was followed by 'Cocktail de Medianoche' and 'Why Don't You Go Home', which were both instant sellouts. The second pressing of 'Latin Dynamite' included a fiery Latin rendition of the r&b classic 'It's Your Voodoo Working'. When Fingier released 'Not Strictly Soul,' it featured the Latin gem 'El Popcorn' which is now available on 7" for the first time. These four Latin Soul anthems are now united in one explosive Boogaloo EP that arrives just in time for summer.
Review: The classic 1982 funk anthem 'Don't Fight The Feeling' by American r&b and funk band One Way gets a fine 12" pressing here, which means it can be played nice and loud. Singer Al Hudson leads the way with his buttery vocal, while a stepping and broken rhythm with lovely dry claps and w sloppy synth squeal make for a pretty unique sound given when this was first recorded. On the flip side, Windjammer's 'I Thought It Was You' offers a more mellow, melodic contrast full of the band's signature blend of r&b and jazz with cooing, heart-melting vocals and a nice stepping rhythm that lovers of UK street soul will surely be drawn to.
Hohnen Ford - "I Get Along Without You Very Well" (2:56)
Matilda Mann - "There Will Never Be Another You" (3:10)
Dodie - "Old Devil Moon" (2:56)
Puma Blue - "It's Always You" (3:13)
Poppy Daniels - "I've Never Been In Love Before" (4:33)
Ife Ogunjobi - "Speak Low" (4:20)
Benny Sings - "Time After Time" (2:45)
Stacy Ryan - "Like Someone In Love" (4:27)
Matt Maltese - "My Funny Valentine" (2:59)
Mxmtoon - "I Fall In Love Too Easily" (3:15)
Grentperez - "But Not For Me" (2:10)
Delaney Bailey - "While My Lady Sleeps" (4:33)
Review: This staunch collection of songs compiled by Decca hears the very best works of jazz trumpeter Chet Baker "reimagined" by a varied selection of international talent, celebrating the legacy of one of American jazz's coolest ever piston-valvers. It's no surprise that Baker earned himself the name "Prince of Cool" as the concept of cool overtook the jazz world in the 50s and 60s; likewise, the artists chosen to reimagine Baker's many sweet treats here each epitomise that same offhand effortlessness which typified Baker's playstyle. Highlights include Dodie, who leads with a Latin percussive rekeying of 'Old Devil Moon', and mxmtoon, who brings equable guitar lurches to Baker's rather lost-his-cool confession of loving excitement, 'I Fell In Love Too Easily'.
Review: ***B-STOCK: Slight surface mark on the record sleeve***
April 10, 1970. Miles Davis, fresh from his Jack Johnson sessions and with a new face in the band, soprano saxophonist Steve Grossman, take the stage at San Francisco's Fillmore West and set about sparking a revolution in jazz by fusing it with rock and funk elements. Captured on Black Beauty: Miles Davis at Fillmore West, this performance is one for the agesifull of explosive improvisation, raw energy and a palpable sense of transformation. The album, finally reissued on vinyl after years of being locked away in Japan, is a time capsule of a moment in jazz history where tradition was discarded and a new frontier was being built. With his usual crewiGrossman, Chick Corea on keys, Dave Holland on bass, Jack DeJohnette on drums, and Airto Moreira on percussioniDavis steered the ship into turbulent, unpredictable waters. It's all about the groove, the shifts in rhythm, and the untamed trumpet blasts that echo through the room like firecrackers. Tracks like 'Miles Runs the Voodoo Down' - from the milestone Bitches Brew album, which had come out a mere month before - and 'It's About That Time' tear apart the old jazz playbook, plunging deep into rock territory while still holding on to the open-ended freedom of improvisation. This is the raw, unfiltered jazz that would come to define the electric period of Davis' caree - a live-wire snapshot of a jazz legend finding new possibilities in real-time.
Review: Best known for his involvement in the Braen's Machine project alongside fellow film scorers Piero Umiliani and Alessandro Alessandroni - not to mention his work under the name Awake and Gisteri - maverick producer Rino De Filippi took a darker, introspective turn on the 1972 Flower Recs bloomer Condizione Umani. Jazz-pincered vignettes are heard piercing the fragile complexities of the mind, across a record whose shapeshifting veneer crosses streams of tension and revelation with an arachnid sleight of foot. With 'Crivellamento' standing out as a key marrying point of ritualistic percussion and avant-garde looseness, we're left spasmodic. Reissued again on standard and purple vinyl as part of the Sounds From The Screen series, we've an historic contribution on our ears from the Italian studio maestro.
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