Back catalogue: Jazz

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: ,Joe Bataan has been busy in East L.A. with Orquesta Rene for this new Latin jazz double 7" courtesy of Steady Beat. It features four all new pieces drenched in soul and percussion, starting with 'So Fine' (feat Big Sandy), a mid tempo groove with vocal longing and languid horns. 'Mestizo' is a more steamy and intimate piece with sung-spoken lyrics and glowing, golden chords. 'Mom & Dad' (feat Claudia Lennear) has s steamy shuffle to its rhythms and classic Latin percussive sounds next to a call and response vocal and 'Time After Time' closes with a sentimental feel.

Review: BDQ Records is the outlet for jam quintet BunnDebrettQuintet, who emerged out of 90s acid jazz titans Mother Earth. Their sound has refocused on a raw and rasping strain with a live, in-the-room electricity which comes through brilliantly on this new single with Lydia Sharpe. Taking a few cues from a Led Zeppelin classic, Sharpe strikes a fierce, sultry figure on top of the sizzling hot Hammond organ vamps and low slung rhythm section. It sounds dangerous like a niche 50s cut, but there's plenty of meat on the bones of the production, while the familiar vocal hooks will go down a storm with a busy dancefloor.

Review: BunnDebrettQuintet has got a monster modern soul tunes on their hands here with the legendary Brian Auger on Hammond B3 helping bring the style. The glorious A-side 'Truth In My Tears' has a raw but heartfelt vocal and big horn energy over driving drums. It's a real dancefloor heater and then the flip is 'Wasn't It You', a more soulful groover with lush backing vocals but still dynamic drums powering it onwards. This outfit's last single went on to become a much sought-after release that is now well spenny on Discogs so do not sleep on this limited follow up.

Review: BDQ's next limited 7" is a superb three-way collab between Julie Driscoll, Brian Auger & The Trinity. Their long-lost version of classic dancer 'Jeannine' is powered by wandering basslines and swinging Hammond Organ chords that bring warmth to the free-flowing jazz vocals up top. It has never before been on 45rpm and has been all but unknown for the last 50 years but was recently rediscovered while the label head was looking for something else for the recent 'Auger Incorporated' compilation on Soul Bank Music. On the flip is a mod jazz dancer who is just as hip and ready to make an impact.

Review: Know What I Mean? is a sublime collaboration between two jazz giants. Released in 1961, it showcases the unparalleled musical chemistry between Adderley's exuberant alto saxophone and Evans' masterful piano. With tracks like 'Waltz for Debby' and 'Elsa,' it blends lyrical melodies with inventive improvisation to mesmerise the mind while Adderley's dynamic energy contrasts beautifully with Evans' introspective style. That captivating interplay highlights the best of both musicians and means this album is a timeless gem in the jazz canon that is rightfully celebrated for its sophistication.

Review: Talk about adaptive design. Zoh Amber, Chris Corsano and Bill Orcutt are anything but household names, but rank among the finest musicians in the US today. All three have carved a name for themselves as improvisational maestros, capable of working with others on-the-fly to create powerful sounds and soundtracks in a display of artistic talent you just don't get to see - or hear - everyday. Corsano and Orcutt were no strangers when Flower School was recorded, around spring 2023. Nor were Amba and Corsano - the pair had just finished a joint tour of the US West Coast. The three had never engaged together, though, but they probably should have. An album that represents each individually, but also shows how they can create something greater as one, this is a freewheeling, freeform exploration of sounds between jazz, industrial, grunge, alternative rock, blues and noise.

Review: Following a series of self released albums over the past three years which saw them expand on hip hop classics with an auspicious level of jazz virtuosity, Canadian jazz trio Badbadnotgood grace the Innovative Leisure imprint with this enlightening collection III. Consisting of Matthew Tavares on keys, Chester Hansen on bass, and Alex Sowinski on drums, it's not hard to see why Badbadnotgood have been getting the usually hushed toned Gilles Peterson all exciting after a few listens of the nine tracks here. If you dug those cover versions you will love this album.

Review: Frozen Reeds continues to be a fascinating label providing rare insight into hidden corner of experimental music, here documenting two rare performances from improv legends Derek Bailey and Paul Motian. The pair may have hailed from distinct career paths, but they came together in superlative fashion for two concerts between 1990 and 1991. The first, recorded in Groningen, is captured on this album following a discovery of the tapes in a forgotten archive, and it finds the momentary duo in particularly focused form. Their disruptive musical tendencies are tempered to allow musical themes to emerge and settle before plunging into the next wave of unexpected expression and experimentation. The second performance, recorded the following year in New York, is included as an additional download.

Review: Derek Bailey and Simon H. Fell recorded At Sound 323, well, live at the Sound 323 gallery in London. It is a mesmerising improvisational journey that defies conventions and expectations as it captures the essence of spontaneous musical exploration. Bailey's intricate guitar work dances effortlessly alongside Fell's dynamic double bass to create a dialogue that is both intimate and intense. Each track unfolds organically, with the duo seamlessly navigating through a myriad of textures and tones and seemingly making sound out of anything to hand, such is the DIY feel of each piece. From the delicate and intricate to the more haphazard and ramshackle, every moment is a testament to the duo's unique chemistry and improvisational prowess.

Review: Blue Note like to claim that you will not find superior versions of the albums they remaster and reissue as part of their Tone Poet Series and we are inclined to agree. Next up to get the luxury treatment is Chet Baker who followed his hugely successful Sings album with this, Sings And Plays, which finds the great trumpeter showcasing the other side of his skills. He was backed for the recordings - produced by Richard Bock - by a quartet including pianist Russ Freeman, Bud Shank on flute and strings and arrangements from Frank Campo, Johnny Mandel, and Marty Paich. The ten song set includes some of Chet's best loved tunes.

Review: Chet Baker's Round Midnight 79 is a captivating live studio album that showcases his exceptional talent as a jazz trumpeter and song arranger. Recorded in one take with no overdubs, the album captures the raw energy and intimacy of a live performance. Baker's trumpet playing is both sultry and expressive, particularly on tracks like 'What's New?'. Accompanied by Rachel Gould's cabaret-style singing on 'All Blues', adds a unique touch to the album. The supporting musicians, including Henry Florens on piano, Jean-Paul Florens on guitar, Jim Richardson on bass, and Tony Mann on drums, provide a solid foundation for Baker's improvisations. Together, they create a cohesive and captivating soundscape that transports listeners to a smoky jazz club. It is a timeless album that continues to captivate and inspire listeners to this day.

Review: Jazz could bait controversy with a sense of mischief even back in the 50s, as Chet Baker and Art Pepper demonstrated when they released the pin-up sporting Playboys in 1957 with tracks like 'For Minors Only'. Of course, Hugh Hefner had something to say about that and so the album was reissued as Picture Of Heath in 1961, and it remains a marvellous entry in the discographies of these two jazz masters. As such, Blue Note turned back to this record for their Tone Poet series, as Baker's trumpet and Pepper's alto sax interact with Phil Urso's tenor sax, Curtis Counce's bass, Carl Perkins' piano and Lawrence Marable's drums. It's an all-time great sounding better than ever on this edition.