Back in stock: Jazz

Review: Hilton Felton's 'Be Bop Boogie' is a delightful classic from the man originally from Norfolk, Virginia. The jazz organ player worked with the likes of Chuck Brown and The Soul Searchers as well as Eva Cassidy at points in his career, and his debut solo album from which this is taken is impossible to find these days. This rare groove jazz funk nugget was recorded in the same place as 'The Bottle' by Gil Scott heron and uses all of its seven minute play time to really get deep under your skin. On the flip is part 2, a rare Japanese 7" edition from 2011.

Review: Next up for BBE is a package of remixes that invites several key artists to add their own spin to Jazzanova's superb reimagining of Sam Sanders's iconic 'Face at my Window'. Kyoto Jazz Massive are first to tackle the single which first appeared on 'Strata Records - The Sound of Detroit - Reimagined by Jazzanova' and bring some intimate jazz clubs vibes. After a Yoshi edit and version with vocalists Sean Haefli, musclecars bring a touch of New York and Chicago house classicism to their version. Both remixers bring new perspective to this timeless classic.

Review: Described as "Sci-fi Jazz", this slice of New York's jazz scene from 1974 is getting a well sought-after repressing. In the homes of thousands, the 9-piece group symphonically combine a spiritual blend of percussion, sax, and drums to compliment Smith's refined vocal. The real magic is in-between the sang passages however, with the organic progression of acoustics building up to create a relaxing jazz-funk and jazz fusion sound that is completely distinct. 'Cosmic Funk' and 'Naima' are real highlights, especially vocally with Smith's 'Cosmic Funk' powerful scream and belted vocals counteracting the gently flowing sounds emitting all around the listener (this record is a joy to hear in stereo sound by the way). Snap this vinyl up before it goes away again, they may not land back on earth for a long time.

Review: Nina Simone has rather been written out of popular music history because of quite how confrontational and proudly Black she was. She was just as far ahead of her times musically too and this legendary album Baltimore shows why. It arrived with no promotion and no lead singles and so it was an utter commercial failure, but the sleuths of the internet have rediscovered it over the 45 years since its release and helped to make it a cult favourite now regarded as one of the best in her oeuvre. It has distinctive reggae production and of course plenty of beautiful vocals from Simone as she tackles songs written by Judy Collins, Hall & Oates, and Randy Newman.